Thursday, June 4, 2015
A state of tabulation has carted my thought,
the simple yet addition made me wrought,
a gentle breeze to slinky.
Documented write of the year '14 over Two-thousand in scotch,
A Bit on the bridle most off the top,
in current of the media that flows my Conscious Mind,
a taste of the Futures on a Ten Tot.
Twenty Thousand would be the speak shall the going of the On not skip a sheet,
bearer of the freeze in gathering the fruit A Garden of the memory just basing on the root,
route the template to the case of the break knot left to Write.
Scourer over thimble let The Letters all on brought,
Tack of the needle pen to pencil in the lot,
scratched my head and then copper said that Wires our the rocked,
gravel cobble Stones of shock to equal of the speech.
Incredible flow to have just shown the take that grasp of what is Stars,
tweezer for the brow and a couple of teasers thats the plot,
gold to show the records core in grovvy darn the cool,
pressure is the text of grain as fossiles stipulations credit reins.
Forward counter with the Milky Way on path that venture talking Frill,
cover label touch the Universal rails a school in maching classed,
Cosmos more to difference door the sunken and the floats,
dead alive to cleft the vibe is moreover just a wrote.
Growth with read in threads of line a perpendicular Math,
division is the multiplied oh golly it's a Staff,
brass utenisils learning Start to clever on the ladder dowel,
spinning paper in the Web is riding for the now on ports.
A beach of tale to Waves in Sail the shipping lanes on cure,
ask the Old's or ancient test is the breath of Breathe to keep the founder less,
in this I found relieved.
Bench to park that colindar a Sieve with plenty hosed,
mark the calendar day tech date for chapters hour prosed,
cannot wait for all the clack of whipty willy flyer lights,
yes the sky is full of flows remotely held to Preakness chose.
Hark the Alas a harp guts chord the Section of the table say,
one utensil for the Moon the several on the doors of broom,
round about the Fountains spout that tongues are graped for tracks,
wrist binders with Cuff link chores A Tie in course of lined,
circle practice thats the trace of Corkboards on the dry erased,
ribbons curl the Oak at vase Mahogany and a good ole chased.
From Cambridge Reveiw May 1891 by James Kenneth Stephen
To see good Tennis! what diviner joy
Can fill our leisure, or minds employ?
Not Sylvia's self is more supremenly fair,
Than balls that hurtle through the conscous air.
Not Stella's form instinct the truer grace
Than Lambert's rackt poised to win the chase.
Not Chloe's harp more native to the ear,
Than the tense strings which smite the flying sphere.
When Lambert boasts the superhuman force,
Or splite the echoing grille without remorse;
When Harraine, as graceful as of yore,
Wins better than a yard, upon the floor;
When Alfted's ringing cheer proclaims success,
Or Saunders volleys in resistlessness;
When Heathcote's service makes the dedans ring,
With just applause, and own its honorured king;
When Pettitt's prowess all our zeal awoke
Till high Olympus shuddered at the stroke;
Or when, recienving thirty and the floor,
The novice serves a dozen faults or more;
Or some plump don, perspiring and profane,
Assails the roof and breaks the exalted pan;
When vantage, five games all, the door is called,
And Europe pauses, breathless and appalled,
Till lo! the ball by cunning hand caressed
Finds in the winning gallery a nest;
These are the moments, this the bliss supreme,
Which makes the artist's joy, the poet's dream.
Let cricketers await the tardy sun,
Break one another's shins and call it fun;
Let Scotia's golfer's through the affrighted land
With crooked knee and glaring eyeball stand;
Let fooball rowdies show their straining thews,
And tell their triumphs to a mud-stained Muse;
Let indiarubber pellets dance on grass
Where female arts the ruder sex surpass;
Let other people play at other things;
The king of games is still the game of kings.
Tip the seasons to have jollied all the years to state,
an understanding grows with These the languages of spelling,
a big screen shown the songs of sung a lathering read treat,
the rinse of wash a soap for toss the ever in the Sleepers.
Take the captain of the trades the muster is of English,
locked as scene to the tack that message on the boarder,
the broadsword of tree to bough of leap the barter is a sip flashed,
the breadth to brain to ride the taste of bitter Sweets at Christmas.
James Blunt is my farvorite drive at the art of rein dear,
the trust so failed on the pact that bearings grabbed the Compass,
the magnet spun the arms went run and in the send it's tarnish,
a bit of brass the knuckles lashed the Microphone is bump kissed.
Cream the pie with Apples sigh the byte at every carmel slide,
a stichy stuck on up the Junk a boat to do the artist,
jumping rounds the stools on sound I heard the bloke was furnished,
with a Feat that spoke of sleek the barrel on the bum list.
To shock the fool of liver Poole the cart be grained an Oyster,
the shropshire said that Rabbit named the dance was of a cloister,
the Boss went luck at Mattehews truck a Value of the dog ear,
a steady hand for Horses land upon the jump a broad steer.
This sleigh behaved the harness Trait was patiently for spunk,
that vibrant bounce to ball the Town with Cider on the chump,
mosh the grounds a Cycle sounds at the speaker It's a seer,
that day tuned Up to Barn the stuck and people got the tonic.
Ice made copulations shown the shoulder of the Sextant,
no factor for the dark released a store caught peeps with Shaddock,
a gool so stair that Ghosts be Ware the rumble was the pulse,
for From declare the singer bared that love was just a post.
Swing the lull in by the pave a mention with the duper,
the crowds shared an Audience the king and prince and Publish,
red the pipe to clever liked a Mind began to streaker,
the Time was Rite and burned a light spoken doors Loc Gilgamesh.
Ancient land that sprang to span the distant Fire Bell,
on the thunder of the seat a plethora holding Tell,
a viking Crane delivered reins the Mountain of the Cornish,
just like That the Celtic back stood up to stand at Warned ist.
Blunt laid the egg It cracked and made the end a bit of born pick,
the get Tar oil was pore a toil leave the Mark ached set wrist,
the Cell phone flipped there was a Clip at 666 it's Morn Kit,
The Cause effect done the Bet that dawner and blitz Zen delivered The Izzard.
Zounds Buy Zombie Purchase Zoraster
Blunt laid the egg It cracked and made the end a bit of born pick,
the get Tar oil was pore a toil be leave the Mark ached set wrist,
the Cell phone flipped there was a Clip at 666 it's Morn Kit,
The Cause effect done the check dawner harnessed blitz Zen,
the instant War a cropped rapport of Alpha bet at Izzard.
It is what is referred to as a lost leisure in thus The Tenure established,
at the route of root mechanics of auto gear the rapid ore is on nautical,
discovery of the Thesis is the life body Rapture of Mankind in Cycles,
on bound to technical deference is the Cost at labor touching Spans`ions,
that bladder of the fill is in the deed of the Holdings that can subject,
at the laughter of the break the bag will empty to the flow,
regarding the Movement of solid it remains in greater Twilight.
At breadth of Sound to tack the Variable often the price at Riddle,
a balance buy maintain is the Mind with work to gallant Frames,
by Purchase cork the bottle of desire is Flavored with stride,
walk to the tepid scour The Scrub will kelp to moss on the Hills,
as the ice is formulation to the skate that is slippery pourings.
To grasp the Pie over the apple on the Sauce is the blendery,
hop scotch to that Chalk on the Sides of the curb bridles bit,
a rein with buckle or split for the Cinch is a purse to the Horn displayed,
these notes are a Pad that is Wool taught Cottons,
the bandage of the string to Velcro of the protective standings Stall at rest.
To Cross-Tie the formative to language in descript Hell will deep Vine,
on grape the whether operation is a motivating Baruch to Ages of ration,
to scribe the birth with a few Hards than the scrolls will born develop Ideas,
grace be Magnitude in the growth of weird,
but if not for that growth Sex, James Blunt would remain "Roast,"
there is need to deliver more than Vibration or as James Blunt puts it,
stimulation or Pleasure I state that The Current is frequency.
Talk calendar year to the gift unwrapped the ribbon is of Interest to the Bow,
an arrow of eye in The Think to task the Wonder of character to lift,
thus creating Purchase to look at The Jeans!!
Now 'Marrow' the rich under Standing with process Whole,
B.D.S.M. is to Christmas as the Eve of celebration on the Morning,
moreover the Thought of in Acceptation 'Boxing Day' has separated the Text,
for shall the Order brush Art teased than complete Association is The Writer,
in trust of extreme to the lasting of Hold to Carnage on Tack.
A girth to be Saddled by the Wire of the times on Tell,
the entry Fees in Case are of Tomorrow Tomorrow an Annie at Keep,
these dungeon hours A Pilot to extension on the Never Ending Tale,
a topper in the Canal of the digs to the Bone at The Bakers Dozen.
Every word in proper prime is the accent desk to Enunciate the atlas Guide to the Universe,
a well described Map on the best of the galaxy At Mind,
in articulation it remains to be Scene as Product Advancement is held on the Rein,
shall the Bridle Fit the established directive than the Bit is of calibration to back Arrears.
Trunk the Vestment with a Scrabble on this Monopoly of expression,
that would introduce only greater expectations increasing the solution to dissolve,
upon Melt the attraction would dive in the reality of the brain in vow,
treating Case as mirror Theory stage the explaining of James Blunt at surfing Audience,
opposition Boards production with the Gift of TALENT at-larger for this has been a keen Preceptive.
In the last analysis all education is self-education. With an interested response by the learner to what is presented by teacher or book, with the will to learn, and with the curiosity to solve the problems that confront and challenge one who would become educated, one may find the mastery of any subject an interesting adventure.
Alas! how few know how to go about it. The average learner, despite his early resolution to "grind out" his tasks, is soon in a state of bewilderment because he has unconsciously failed to make the right start. The time was, not so long ago, that education was assumed to consist of memorizing a textbook. Were that the whole story, all that would be required would be to spread before the learner a series of facts, figures, rules, and formulas. Memorize these and one might pose as a learned person. Psychologists have shown us the fallacies of this method of study.
Such an education utterly neglects to train the thinking faculties or to prepare the learner to utilize in any practical way what he has acquired. It would be well, then, before he enters upon the study of any one subject, for the learner to take serious heed as to how he should conduct this study. In other words, he should first learn the simple fundamentals of teaching.
It is equally important that the subjects should be presented in a sound pedagogical manner. Here, too, modern psychology has been called into play. All learning, we are told, depends on the proper stimuli and responses. Without creative interest and the correlation of subject with vital, everyday problems there is no educational gain. The reactions that result in a satisfying response are retained, while those that are disturbing will not be retained or used. Thus the educative process is too often a matter of trail and error. Those who have prepared the lessons in this section of the blog have had all this in mind. All the problems presented are related to practical experience; and in working them out the learner should find the incentive of interest, should be stimulated by satisfying responses to progress in the mastery of successive steps, and should discover his thinking power to be growing.
Association of Ideas.
On the contrary, in our trial-and-error activity, as response that is annoying will hinder the learning. One tries to learn how to drive an automobile. On the first trial he may have an accident due to a mistake in shifting gears. This discourages him and perhaps results in his giving up further trial. If, however, on a second trial he avoids his earlier error, the result is so satisfying that he has an incentive to go on in his learning. Here it is shown that in learning we shall advance faster if our responses are not accompanied by annoyances and if we persist in our trials.
It is of great assistance in learning if we have two or more simultaneous reactions to a given stimulus, provided these reactions have some association. This is called "the association of ideas." When a child sees its first automobile and comes to associate the name with the carriage, as well as how he or she felt and what he or she saw on the ride. Later learning in this blog study that the word "automobile" comes from the two Latin words meaning "self" and "moving." It is of great assistance in learning to have in the mind as many associations as possible.
In this association method lies the secret of successful memorizing. The more associations we establish with a given idea, the more likely it is that one at least of these will come to mind when we wish to recall the original idea, and with this will come back to mind the idea itself. So when we wish to memorize anything we should build up associations. Take, for example the rule of capital letters in the title of a composition. Let the letter C of the word capital stand for conjunctions, A for articles, and P for prepositions. When you wish to recall the rule, it ought to come to mind: "In the title of a composition, capitalize all words except conjunctions, articles, and prepositions."
This leads us to consider the old-time method of learning. It was customary to receive a daily assignment of subject matter in a book, which was to be memorized and then recited from memory. The incentive of interest was missing. But its worst feature was the lack of any practical application of each lesson. As a result the pupil found later on that he could not apply his rules. Moreover, the chances were against his even recalling the rules. Had he begun, for example, by actually working out a practical problem such as measuring the area of a floor or Wall, and then deriving the rule from the experiment, the rule would be more permanently fixed, and he would know how to resolve similar problems.
The Will To Learn. Now that we have outlined the process by which learning is accomplished, it will be well to make practical application of these ideas to the problem of study.
First of all must be answered the question: have you the will, the determination, to study? Without this motive power you will get nowhere.
Cultivating Concentration. Can you concentrate? Will-power may be a great aid to concentration, but if you haven't the ability to shut out from your mind whatever distracts the attention, you will be seriously handicapped in studying. However, if you are in earnest you can accomplish a great deal in cultivating concentration. Avoid the easy chair; sit at a table, with paper and pencil to make notes. An active pencil makes for an active mind.
Avoid Fatigue. Do not work too long at one time. Take time to think it over. An hour a day, provided there is some definite accomplishment, and also provided the work is continued regularly day by day, is better than longer sessions at less frequent intervals. Keeping consistently at your study is what counts.
Divide Your Time. Hold your interest by dividing your time between two subjects, as between grammar and vocabulary work. At first, however, it may be well to devote most of the time to mastering the tools of power and progress. This advice will be especially applicable if you have not had the advantage of school training in learning to use these tools.
For answers to exercises, see Contents.
Charge the carry with the "Hi" Tech of introduction a gentle appeal to a heavy Handler,
in the count on the board to the supply access is the straight Up on the cork to product,
in the stimulation of the evaluation has not the Had been in Deed to the talk of Hand Concept,
as the addition to the subtraction divides on the Counter of the lay to that table of Loft.
The denial of the letter in the Write of the test on the Rider in the Arena of Event,
breaking down the object to three Primal phases as the Horse is of character condition,
on the breast of the limb to that Hoof is a great beast to Wild on brushing the pardon,
as the text in Application is of the knew it is still in the Consider of every singled Step.
A Canter X Halt C track Left to cross the Dimension on the Understanding of the barrel,
that straight line to the Collection is in the Act of the flavor to bend the Haunch in power,
the play to the push off originally kicked on the Tile of the dirt set to the pad of clarity,
the cogs of the shoe are drilled in most for grip as the slick in the Rein is asking Impulsion.
On the Rockets read dare to the Ignitions of Keyed is the factor that the Life Itself had Tolled,
to vibrate with the recording as the groovy ink on lather is the Sweat of stick or slip,
the gear of comprehension leaves the Calendar Years to last the echo with familiar dark,
towards the March on stealth of portion recognition is Vastly dropped as the letter Heads.
Nest in the arm of setting to Hip is than the hopper on the boil of the simple tack,
complex in curtain as blinking will enhance the quick to the Think of the rider on the prance,
an aspect Idea with original send is in And of the identification of the print to the tale,
grooming for the barn in the stability of stake is a Snubbing Post on the concreted depth for choice.
To not counter good footing in the art of Short is to be of the measure that B.D.S.M. is lease art,
as a picture touches same in invoking of the stimulation does not the Painter communicate a brain,
fork the bench Seat with candor of silence that the eyes of the sake will Mind coat to the Cycle,
as a tunnel is of Measurement to the scale of the dig is the tube not a Train in the view of the sign.
The yield of a Proverb is the transaction of the gear to the level of the Phrase on the Herd,
a nurture with The Ice in process melts but at the temperature of starch it burns the Blind,
a Polo to the tongue is the anchor of the boast to take the tempest rising is it daring on the file,
sure the stuck can bring to Fact the file after been rather conduction is the Elemental of the Flame of Fire.
Either in the equal of the School tub of sort or is the Moth the butterfly before the wings at gift,
molten is the Hem of say to Cocoon on the Film for in the landing of the Moon is that Flag a smile,
the completion of the Purchase that mold to setting Sun branch the gallantry for the shadow is of mile,
round to circle on the forward Action of the store as the Milky Way is barking the stars are often stairs.
One enormous safety to spring the wealth Discover the reach to the farther is knowing of the Climb,
ladder with a structure the design is sailing Time with Ages as the spice to flavor of the Seer,
bell the Sage a route to came than in The Faster key heard that Humanity is caging the morals of the dust,
shower watch with thimbles that thread gone to Needle than shall the spool be pulled or offered as a but.
Punctuation, the Lubricating Agent
IN THE CONVEYANCE OF THOUGHT in writing or print punctuation is of prime importance. It makes clear expression and correct understanding. It is as necessary, though not as natural, as the pauses and vocal inflections with which every normal person punctuates ordinary conversation.
Writer and reader may be likened to a motor-car driver and his guest on a sight-seeing ride. The driver would wish the sights to be seen in their most interesting aspect, and correctly valued. He would want the journey to be smooth, without unpleasant abruptness and confusion to distract attention from the main objective. And he himself, at the wheel, would accept the guidance and control of traffic signals: the green, like a comma, bidding him go ahead but watch the crossing; and the red like a period, saying "Stop!"
Punctuation should unobtrusively smooth the way for the passing of mind-pictures drawn by the writer in words and sentences.
But since by itself punctuation draws no pictures, conveys no thought, it should be used sparingly and with artful simplicity. Like the salt in well-seasoned food, it should be effective but not too evident. It should be no more obtrusive that the oil in an axle bearing--but equally useful in producing smooth progress.
The function of punctuation is not to ease the shock of involved construction and furnish an alibi for the writer's laziness or lack or craftsmanship, but to CONTRIBUTE TO THE FLOW of properly co-ordinated elements of expression.
Skill in punctuating is an essential part of a writer's equipment. His product takes on character and expresses personality , in a manner pleasing or otherwise, according to the use he makes of his tools: logic, sequence, words, sentence construction, paragraphing, and punctuation. Simplicity and clearness should be his aim.
Creation is the brust of life to the explosive comprehension of elements on inspired,
the shots from her skirts to the spread of the stars at the Press Earth a planetary Stand,
the depth of the Universe in the cosmic Uncertainty that growth is destruction on birth,
that craft of containment touching The Outer Range arrangement by design of nautical,
throughout the clam in galaxy to the pearls of the stations Satellites are the beauty of Caution,
on the Hem of dirt to the gases of the Giants while Moons are additional to attraction,
the circular deep Vines in the clarity of breadth to each of the separate yet joined by a line.
Particles of dust showering the place a Comet talking Meteor telling A Tail,
whipping grained stones with volumne on the Lo a harnessed affair with verbose as The Showed,
lovely in the hour on the short of the glad in happy on consistence until the platter Jagged,
a symptom scene the tractor the Scientist does rack where is Life Itself on this sound of such an old knack.
Know Dish of reception the conduit of speak a hand in the fable to the egg dropping Day,
mix the nothing to the Sum and Any part will due at the base of structure it is a real stew,
thought on Ideas that furthered Mankinds Lens tacking all the favor forgetting of the limbs,
on lone to Wolf in howling duned joined with the echo lock to shall the common heard,
the pricked of ears that scoot to shoved will spur the Owl to home a dove in the Crow at send.
Travel in the slower trail with The Buffalo at Railed the Herds that made such Thunder light across the Plains On Entered flight,
the ground so turned the Plough did say the Constellation of the play must be on the Curlings,
there above the Task at loved Sheds that LOOK! it's on the dug to empty UP the plot,
a seed that plants to be hugged by the dirt a snuggle bug,
wrapped with warmth of waters drink the Feat of sure the rice is leeks,
ore on said to lock the fed a trace that syncs the memory blinked to face the Morsel dreads.
To the starry nights that show the Tights a drawing of the Comp at fight does spurn the list to Keel,
etched out ruff The Dragons lust to burn a Fire just like Flew!!
Nero is the match by Lit for in the story as it Told for McLaughlin in the Prose,
those moments in the Text of Tile to brief explain the Billions Miled,
an Ice that chills the bones to Steer a Wheel in the Sailors seal Clapping to the soled,
armor introduction Pounds to forge the points to Arrows loud,
the Bow for gun A Loved begun that Set the gear to Styles Heeled,
the Ankle of the egg in Crack is simply called the Voice Intact!!
From Wikipedia, the free encyclopedia
Free verse is an open form of poetry. It does not use consistent meter patterns, rhyme, or any other musical pattern. It thus tends to follow the rhythm of natural speech.
Poets have explained that free verse is, despite its freedom, not entirely free. Free verse displays some elements of form. Most free verse, for example, self-evidently continues to observe a convention of the poetic line in some sense, at least in written representations, though retaining a potential degree of linkage. Donald Hall goes as far as to say that "the form of free verse is as binding and as liberating as the form of a rondeau", and T. S. Eliot wrote, "No verse is free for the man who wants to do a good job". Kenneth Allott the poet/critic said the adoption by some poets of vers libre arose from 'mere desire for novelty, the imitation of Whitman, the study of Jacobean dramatic blank verse, and the awareness of what French poets had already done to the Alexandrine in France'. The American critic John Livingston Lowes in 1916 observed 'Free verse may be written as very beautiful prose; prose may be written as very beautiful free verse. Which is which ?' 
Some poets have considered free verse restrictive in its own way. In 1922 Robert Bridges voiced his reservations in the essay 'Humdrum and Harum-Scarum.' Robert Frost later remarked that writing free verse was like "playing tennis without a net." William Carlos Williams said "being an art form, verse cannot be free in the sense of having no limitations or guiding principles". Yvor Winters, the poet/critic said "the free verse that is really verse, the best that is, of W.C. Williams, H. D., Marianne Moore, Wallace Stevens, and Ezra Pound is the antithesis of free"
As the name vers libre suggests, this technique of using more irregular cadences is often said to be derived from the practices of 19th-century French poets such as Gustave Kahn and Jules Laforgue in his Derniers vers of 1890.Taupin, the USA based French poet/critic concluded that free verse and vers libre are not synonymous, since 'The French language tends to give equal weight to each spoken syllable, whereas English syllables vary in quantity according to whether stressed or unstressed'. The sort of cadencing that we now recognize as a variety of free verse can be traced back at least as far as the King James Bible. By referring to Psalms it is possible to argue that free verse in English first appeared in the 1380s in the John Wycliffe translation of the Psalms and was repeated in different form in most biblical translations ever since. Walt Whitman, who based his long lines in "Leaves of Grass" on the phrasing of the King James Bible, influenced later American free verse practitioners, notably Allen Ginsberg. One form of free verse was employed by Christopher Smart in a long poem called Jubilate Agno, written sometime between 1759 and 1763 but not published until 1939.
Many poets of the Victorian era experimented with free verse. Christina Rossetti, Coventry Patmore, and T. E. Brown all wrote examples of rhymed but unmetered verse. Poems such as W. E. Henley's 'Discharged' (from his In Hospital sequence). Free verse in English was persuasively advocated by critic T. E. Hulme in his A Lecture on Modern Poetry(1908). Later in the preface to Some Imagist Poets 1916, he comments, 'Only the name is new, you will find something much like vers libre in Dryden's Threnodia Augustalis; a great deal of Milton's Samson Agonistes..and the oldest in Chaucer's House of Fame.' 
In France, a few pieces in Arthur Rimbaud's prose poem collection Illuminations were arranged in manuscript in lines, rather than prose and in the Netherlands, tachtiger (i.e. member of 1880s generation of innovative poets) Frederik van Eeden employed the form at least once (in his poem "Waterlelie" ["water lily"]).
Goethe (particularly in some early poems, such as "Prometheus") and Hölderlin used free verse occasionally, due in part to a misinterpretation of the meter used in Pindar's poetry; in Hölderlin's case, he also continued to write unmetered poems after discovering this error. The German poet Heinrich Heine made an important contribution to the development of free verse with 22 poems, written in two-poem cycles called 'Die Nordsee' (The North Sea) (written 1825-1826). These were first published in Buch der Lieder(Book of Songs) in 1827.
Form and structure
Although free verse requires no meter, rhyme, or other traditional poetic techniques, a poet can still use them to create some sense of structure. A clear example of this can be found in Walt Whitman's poems, where he repeats certain phrases and uses commas to create both a rhythm and structure. Much pattern and discipline is to be found in free verse: the internal pattern of sounds, the choice of exact words, and the effect of associations give free verse its beauty. With the Imagists free verse became a discipline and acquired status as a legitimate poetic form. Herbert Read however, noting that 'the Imagist Ezra Pound gave free verse its musical structure to an extent that parodoxically it was no longer free'.
Because of a lack of predetermined form, free verse poems have the potential to take truly unique shapes. Unrestrained by traditional boundaries, Yvor Winters described this as 'attempts to widen experience by establishing 'abnormal' conventions', the poet possesses more license to express, and has more control over the development of the poem. This could allow for a more spontaneous and individualized product.