Heroes Poetry Video

This is an original poem by Samantha Vinzon. I had to write a sonnet for Dr. Gen's English 9 Honors class. Then I had turn it into a video as a homework assignment. Hope you enjoy it!! :)

Act V - Scene II of Shakespeare's Troilus and Cressida

This scene, in which Diomedes woos the faithless Cressida, represents a reinforcement of some of the themes that have already been introduced in the play such as loyalty and betrayal, lust and infection, manipulation, ignorance of public duty, and the major theme of futility. It also represents the beginning of a shift in character in Troilus since this is the event that inspires his redemption as a warrior, although it can be argued that "redemption" is too strong a word since his moral lapse has already caused severe damage.

Cressida appears in this scene, again, as a manipulator in the love game, but Diomedes proves that he will not be as easily "played like a fiddle" as was Troilus. Although Diomedes' infatuation with Cressida has caused him to ignore the code of chivalry by failing to stay and entertain Hector, he, unlike Troilus, has no intention of allowing his amorous aspirations to make him absent from the battlefield. It can be argued that, in this sense, Diomedes has proven himself to be morally superior to Troilus.

Ulysses has orchestrated events so that Troilus may bear witness to his lover's betrayal. Up to this point, Ulysses has been presented as a wise manipulator. One would be justified in questioning Ulysses' intentions in this scene. Was he following the code of chivalry in bringing this matter to Troilus' attention and offering advice, or did he have an underlying motive of playing with the young Trojan's mind? Either way, both objectives are met.

Troilus appears in this scene as the wronged lover who now has visible proof of Cressida's betrayal. He is obviously beside himself and is contained only by efforts of great restraint by Ulysses. The theme of betrayal leaps to the forefront here as we recall Calchas' earlier betrayal of the Trojans, and Helen's betrayal of Menelaus. Troilus runs parallel to his brother Paris in that they have both put their passion ahead of their duty.

Thersites appears as the railing malcontent who underscores the theme of futility. Thersites serves primarily as an obnoxious chorus throughout the play who can find no good in anyone. However, his sarcastic voice echoes a fundamental truth when he says that "all is war and lechery". Indeed, this proves to be a fundamental truth of the play.

As for the staging of this scene, I certainly see it taking place outside at night. The ominous themes that prevail in this scene would not have the same impact if it were staged on a bright sunny day. The mood of the scene, as I see it, is necessarily engulfed by darkness.

The set design should be kept simple, since the action in this scene requires little adornment to make its point. Calchas' tent would be on the left side of the stage (from the perspective of the audience), and there should be a tree to the right of center stage, behind which Troilus, Ulysses, and Thersites can bear witness to the main action with secrecy.

The costumes should reflect, to some degree, the personalities of the characters. I see Diomedes as wearing the normal attire for a Greek soldier who is unarmed since he presents himself as a self-assured man who will not be made a fool of. He requires no special adornment to present himself to Cressida. Cressida, on the other hand, is expecting the visit from Diomedes and has dressed accordingly. In the spirit of playing the coquettish vixen, she will be attired alluringly with the obvious intent of holding her guest's undivided attention. The attire of the other three characters in this scene is less important since they are meant to be hiding from the focal point of the main action. They will simply be dressed in attire appropriate to their positions.

Props and furniture will be kept to a minimum also. Perhaps there could be a table outside the tent with a bowl of fruit of which a few pieces are half-eaten. This could, in a minor way, help to reinforce the theme of waste and decay. Although, this might not be practical since the scene is staged at night. I would also have Ulysses bear a staff as a prop. The reason for this will be explained in a moment. The sleeve which Troilus gave to Cressida as a token of his love would be another prop. In this scene the sleeve should bear a stain, for obvious reasons. There would also be two large torches flanking Calchas' tent.

As for the lighting of the set, the aforementioned torches will flicker and exemplify the fickle nature of the woman who has emerged from the tent to greet Diomedes. There would probably have to be a soft spotlight to highlight the actors for the audience, but the engulfing darkness and the flickering of the torches would set the prevailing mood of the scene. If it were possible, I would have it appear that the lights from Calchas' tent were causing the shadow of Troilus to be cast on the tree that the other three characters are near. Ulysses will stand beside Troilus with his staff in such a manner that the shadow cast by the young prince will appear to have a horn. This would foreshadow, both literally and figuratively, the danger that Troilus will face of becoming a cuckold if he marries Cressida.

For the sound and speech, Diomedes and Cressida will speak in normal voices while the other characters speak in loud whispers to remain undetected by Cressida and Diomedes. Crickets and sounds of the night would add to the flavor of the setting, and in the background, I would add the low rumble of thunder toward the end of the scene. This would be a symbol of the impending storm and destruction that will follow from this moment in the play.

In conclusion, the set design, costume, props, sound, and lighting should all, in some way, contribute to the mood of the play and help to exemplify the themes of the play. Anything that does not serve a specific purpose will be eliminated as this Shakespeare scene requires no crutch.

Shakespeare, Poetry, and the Power of Art

Poetry can have an incredibly polarizing effect: people tend to either swear by at or swear at it. What gives? Well, aside from the fact that good poetry can be dauntingly elitist while bad poetry is, as a rule, truly god-awful, art in general is a very powerful medium - and poetry is one particularly artsy and inaccessible form of art. In fact, poetry is so powerful that it can be wielded against other people. Not just in the sense of intimidating your classmates with a spiffy beret, or holding your book of Keats a foot away from your face so that everyone in the coffee shop can see how brilliant you are; we're talking immortality, manipulation, and objectification here. Shakespeare, that means you.

Just about everybody is familiar with the opening lines of Shakespeare's "Sonnet 18," which read, "Shall I compare thee to a summer's day? / Thou art more lovely and more temperate." Pretty romantic stuff. Until you read the next 14 lines. Shakespeare goes on to describe the fleetingness of natural beauty in comparison to the subject of the poem, yadda yadda yadda, and ultimately decides that death could never claim his beloved "When in eternal lines to time thou grow'st." Whaa?! Lines of what, exactly? Well, considering that this is poetry, it's pretty safe to assume that the "eternal lines to time" in which the subject grow'st are referring to the lines of Shakespeare's own poem. Roughly translated: "death can't touch you so long as you're in my poem, Sweetcheeks." Or something to that effect. In other words, there's nothing inherently wonderful or eternal about the beloved of this poem (whom we've learned absolutely nothing about, by the way); it's merely the fact that (s)he happens to be in the poem that gives Shakespeare's beloved any greatness.

In case he wasn't being clear enough, Shakespeare closes the poem with: "So long as men can breathe, or eyes can see, / So long lives this, and this gives life to thee." Kind of presumptuous to declare that your poetry will exist "so long as men can breathe," but that's Shakespeare for you. If you still aren't convinced, stop and think about the fact that "Sonnet 18" ends in the word "thee." The significance? Sonnets are written in iambic pentameter with alternating stresses (shall I compare thee TO a Summer's DAY / thou ART more Lovely AND more Temperate), meaning certain syllables are given importance while others are not. You might have noticed that, already in the first two lines, "I" is stressed while "thee" and "thou" are not. Who's the subject of this poem again? In fact, "thee" and "thou" appear in the sonnet a total four times, but only one of these - the final "thee" - falls on a stressed syllable. Long story short, the person to whom "Sonnet 18" is addressed only receives any special importance at the very culmination of the poem - i.e., when Shakespeare's mad poetry skills have had a chance to work their trans formative magic. Throw all this on top of the fact that Shakespeare is writing a supposedly intimate love poem... but fully expects it to be read the whole world over for, you know, the rest of eternity, and you've got yourself one hell of a power trip.

Moral of the story? Skip the beret and write yourself some poetry. Ya arrogant jerk.

a sonnet for andymcgaffigan

AndyMcGaffigan: youtube.com ...said if I wanted a shot at the YouTuber's "Foundation Award" from the International Radio and Television Society Foundation, that I had to write him a sonnet about his "greatness". So I went with the English form, a,b,a,b,c,d,c,d,e,f,e,f,g,g... andymcgaffigan taught me to love, with a cute-o-lution vid and its responses, he handed out resolutions from above, to make other 'tubers' new years eves worryless, his greatness is unmeasurable, by any tool known to man or God, so I guess we'll go by views for now, which means I'm kicking his ass by a lot, but I'd better be nice and kiss some booty, because playing to Andy's vanity works, and I really want that stupid trophy, it shouldn't go to someone who just lurks, so today EDiots will say I hit a new low, as I quietly utter, "Trophy, or GTFO" PS. Sorry to my new subs for all the inside jokes in this one.

McFly - Home Is Where The Heart Is Lyrics

McFly Home Is Where The Heart Is Lyrics I'm a lover not a fighter Hold me close and I'll take you higher than you've ever been Raise your hands and lay down your weapons We could turn this around in seconds flat if you believe Home is where the heart is It's where we started Where we belong Singing home is where the heart is It's where we started Where we belong We'll light a fire and write a sonnet Pin your hopes and your dreams upon it now and come and sing with us Calling out to your children's children Let there be love and let them scream it loud before we bite the dust So come on Home is where the heart is It's where we started Where we belong Oh We're singing home is where the heart is It's where we started Where we belong In these troubled days of anger We're afraid of every stranger But today we're changing history It's okay Just sing it with me Now's your chance Think of your lovers We are all sisters and brothers Now's your chance Think of your lovers We are all sisters and brothers Home Whoa Yeah Whoa Yeah Home is where the heart is It's where we started Where we belong Home is where the heart is It's where we started Where we belong Oh We're singing home is where the heart is It's where we started Where we belong Oh We're singing home is where the heart is It's where we started Where we belong Where we belong (Where we belong) Where we belong (Where we belong) Where we belong

Songs of Love - A Celebration (Part - I)

Wings of aspiration
Muse the music of shyness
Collecting vibrations of
Meandering rhymes.
Our amazed maiden meet
Manuscripts sonnets of
Different verse
Back in our mind
As time glances each others poetry.
The thread of tie weaves
A different spreads of mosaic
Reaching our kite at another sky
Where cloud narrates
The meaning of whiteness
And rain sketches a season
Of unique world of living.

...................

I take you
To different peaks.
Like birds
You wish to fly
Over the hills
And beyond the bounds
Of the sky.
We sketch differently
To measure the love.
It is still deep enough
When you scale
From the top.

..................

Silently I sink myself
Below your neckline.
You surrender
As sea-bed near the shore
Under the roaring tides.
Passionately we search
Each other closing our eyes.

........................

I move my finger tips
Over your sedulous lips
And repose on
Your anxious waves.
You whisper something
In my ear sliding your desire
Over the shadows
Of translucent light.
After a long journey
You relax for a while
Unveiling the curtain
Of your dream.

.......................

Artfully I repose
On the high seas
Of your beauty
The warmth
Of my inner sun
Swims with your
Passionate waves.

...................

Under the helm
Of your shyness
Symphony of love chimes.
Carefully I listen
To the music,
The wishes
Of your nail biting.

...................

On each page of night
You compose the poem of love
Shyly dawn knocks at your door.
As you are still
In the half way of your song,
You request the beauty night
To stay with you
For a little long.

........................

I search the love of light
Over your
Petallic smiles.
Closing my eyes
I kiss craftsman's
Sacred choice.

............

Like swimming cloud
You are soft,
Calm and poesies,
And you wish
Nearness to tender
Feathery breeze.

...........

You always fear
Perhaps
Someone may hear.
Bangles you arm
To make nearly
No sound.
Eyes you wish to slide
Else it may ask
For a share
Of your love
Undivided.

...........

Carefully I unveil
The twinkling
Of your dewy eyes.
You wake me up
In my moist dream
And your soft touch
Lulls me to sleep.

.................

In me
I discover you
So closely
As nudity
Clings
To your body.
You still look fresh
In every new turn
Like the morning
Bright Sun.

............

The waves of warm feeling
Spread over
Slowly on the sands
Of your aspiration.
Smilingly your shyness
Mingles with a new skyline
Murmuring another moment
Of ecstasy of union.

The Blue Collar Scholar by J Elwood Davis is a Book of Poetic Rhyme by a Working Man (Ex Marine)

J Elwood Davis is a much loved and highly respected poet in the world of Poetry today. Known mostly to other poets as "Raindance" having been brought up harshly by drunken parents, lived in children's homes then he became a marine doing service in Vietnam. The experience of all these three facts really did give him a A1 honors degree in life itself. Having found a great love of God and an understanding of others through living life itself now in his later years he has found great release from all his thoughts of experiencing painful neglect, of seeing atrocities of life turning to a great belief in spiritual love and life everlasting which is all reflected in the writing of his poetry.

Jim always says "I am not a Poet I am a rhymer" by thinking of the great Poets past and not wanting to put himself in their esteemed league, But as his publisher, friend and yes one of his greatest fans I call him a POET as all who have read him does. So it is not at all surprising that I can write with utmost sincerity and admiration about him and his 'Words of loving, living and the understanding of life that he has penned in Rhyme' The Blue Collar Scholar is a book that will move and delight even those men who say they are not a lover of poetry...Just by reading a few pages of this book and they will see how their thoughts change to make them want to read more... Anyone and everyone who as ever been involved in hardship, pain and yes! War will find themselves relating to the read and all who have found God through being in despair, lost, frightened and scared will relate deeply too.

It is a book by a working man aimed at touching all other working class people, but their academic peers too I know will find a great release of understanding coming through with the love of God. Everyone of the poems in my opinion as a Poet and publisher... but the one titled 'UNPAID BILLS' about never forgetting to help the vets is one that I was most moved by too always remember.

Another one is just a short little ditty of advise saying that all we have to give our children is as the title says, ROOTS and WINGS' Roots meaning a good steadfast foundation of Parental love on which to build on and Wings to let them have the freedom to fly when ready to leave the nest / home... This wonderful poet of today 'J Elwood Davis' is also a very pronounced member of the Poets World-Wide group having participated in everyone of these charity books Two Butterbee Books and the Lucky Grub book for childrens Charity 'Standing Tall When feeling Small' in support of sufferers of Alzhiemers, A Prayer book titled 'Precious Prayers' to support the Ronald Mc Donald Houses.

An anthology teaching book of poetry styles that we are distributing with the funds out to schools etc. And the latest great book titled 'Passionate Patriotic Poetry for 9 / 11. Plus one that Jim suggested be done in support of the troops all serving men and women titled: 'Poetic Words To Support The Troops' with all revenues being paid to the USO. All great achievements by Jim and all the other members of Poets World-Wide' Jims book can be seen in more detail on his web page here http://www.pfppublishers.com/JED.html

The Meadow (sonnet)

Hey Guys! Shira & Noa here! :) So! our English teacher wanted us to write a Sonnet, attach a clip or a presentation and present it infront of the class. Of course we immediately thought of twilight, Edward and Bella, and for the general idea- The Meadow. Few days later we had a sudden insperation. there it is, Hope you'll like it. Our teacher sure did! * Thank you, vidyulsa, for the clips. * *We do NOT own anything* Lyrics: Love is like a meadow When it blooms- its beautiful, full of colorful flowers. Suddenly everywhere you look you see rays of light Everything seems to be shiny, sparkling, even at night. Its so perfect; you cannot believe its true Youre all alone in the magical heaven- just the both of you. So light and open, full of butterflies and trees Seems like a fairytale- is it a dream? Love is like a meadow in the early spring. But when the spring is gone and love fades away The meadow seems lifeless, brown and sad. From blooming flowers to hurting pain Now all youve got is memories that you cant restrain. Until you find a new love And the meadow will bloom again.

John Donne - Two Religious Poems

In his religious verse John Donne (1572-1631) used the same techniques he had developed in his love poetry. In this article I shall examine two of his religious poems, 'Holy Sonnet (Batter my Heart)', and 'A Hymn to God the Father.'

Both poems are religious, in both the poet addresses himself directly to God, and in both the address is colloquial in style. The difference is in the type of feeling expressed by the poet. 'Batter my Heart' is a desperate plea for God to make his presence felt. 'A Hymn to God the Father' is a calm, serene, hymn requesting forgiveness.

Characteristically of Donne, 'Batter my Heart' opens with a dramatic exclamation:

'Batter my heart, three person'd God'

The force of this opening is maintained throughout the poem. The rhythm is an insistent hammering and the images are nearly all of violent action. The explosive 'B' of the opening word is continued in the alliteration of lines 3 and 4: . . . bend . . . break, blow, burn . . .

The poem is written in the imperative tense. Donne is begging for action to be done against himself, thus implying the superiority of God and maximising the intensity of the plea.

The main idea behind the poem is Donne's struggle to be at one with God. He depicts the bonds preventing him from doing God's will through images of war, sex, and marriage.

I, like an usurpt towne . . .

Reason, your viceroy in mee, mee should defend . . .

But is captived . . .

I . . . am betroth'd unto your enemie

Divorce mee . . .

Donne's imagery conveys the idea that the forces which bind him are not only very powerful but also deeply personal. To be 'betroth'd' to the devil implies a deep involvement. He pleads with God to apply his will with the same dual qualities - intense and personal. He wants to experience God's presence with the intensity of 'break, blow, burn' and with the personal involvement implied by 'imprison', 'enthrall', and 'ravish'.

. . . imprison me, for I

Except you 'enthrall me, never shall be free,

Nor ever chast, except you ravish mee.

These lines contain characteristic Donne conceits; he cannot be free until he is imprisoned, or chaste until he is ravished.

'A Hymn to God the Father' is a peaceful poem, with a free-flowing regular rhythm which reflects the easy acceptance of God's will and which, as a hymn, would make it easy for the congregation to sing. The rhythm is repeated throughout the three verses. Words and phrases are also repeated, emphasising the singleness of purpose behind the words. For example the phrase 'wilt thou forgive' occurs four times in the first two verses.

The argument contains a characteristic Donne conceit, in:

When thou hast done, thou hast not done.

This line also contains a pun on 'done' / 'Donne', both the conceit and the pun conveying humility. Another pun occurs in verse three with 'sun' / 'son'. These devices add a characteristic touch of wit to the work.

Despite the personal reference in the pun on 'Donne', and despite also being written as a first-person address, this poem is not so personal as 'Batter my Heart'. Where 'Batter my Heart' expresses a complex agonising personal struggle, 'A Hymn to God the Father' expresses a simpler universal notion which all Christians can share, a quality essential for a hymn.

There is Metaphysical logic in 'A Hymn to God the Father' in the repeated line:

When thou hast done, thou hast not done,

For I have more.

Unlike the arguments in most Metaphysical poetry the motive behind the words is not persuasion but confession, but the logic is brought to a conclusion in the final verse with:

And, having done that, Thou hast done,

I have no more.

This conclusion represents the ultimate state every Christian wants to achieve, peace and forgiveness after death, and should serve as inspiration to the congregation singing the hymn.

The King Without Crown

William Shakespeare was not only the name of a play writer but also, he was a versatile genius in the sky of English literature who led his pen through out the intensive problems of human beings irrespective of castes and creed and even with his gallant touch, the common phenomena of human societies have been reflected in a systematic manner. As he has entered in English literature as a Play Writer but he has thought about the poetic diction in the world which speaks about the nature, love and the superiority of natural aspects virtually. In his flow of writing, he has included all sorts of literary contents very tactfully and used his dialect in the creation of world literature for which he had had the recognition of the world as the greatest author and dramatist.

William Shakespeare was born at par Avon in Stratford where he was brought up and so far it is learnt that his father was a carpenter in a Weaving factory He received his primary education from Stratford and afterwords, he joined to a drama club from where he had started his career as a play writer. Afterwords, he had written a number of world class books on English literature out of which King Lear, Hamlet, Macbeth, Troilus and Cressida, as you like it, Julius Caesar, Anthony and Cleopatra, Measures for Measure are the greatest. In every of his literary creations, he added the dimension of poetic diction and thus he ornamented his literary stringency with full aspects human problems and their solutions. His poem in English literature is unforgettable because he has brought the contrasts of feelings in between man and nature. As has been reflected in the sonnet XXIX by William Shakespeare, a true love of his beloved with nature has been vividly contemplated in a significant manner. The poet thinks that his love for his beloved will be never ending. Even, some changes may occur in natures which always show the sequence of transient trend of life. The influences on change-ability of the nature over the earth are melancholy and transitory. Human beings are developed in the earth and flourished through some changes day by day after a short span of time, causing decay and destruction, he dies and his everything on earth is faded away as a symbol transient growth of nature. The poet thinks that he has unlimited love towards his beloved and this love is never changed as the nature changes and develops and withers. The beauties on earth are temporary and as such melancholic strain prevails in its every influence over the plants, environment and the situation that occurs after change. The earth is changing with the changes of nature and his love cannot be changed which is permanently bedded on integrity, peace and faith in his heart. The poet presents a true love, which is uncommon, but illuminating conflagration will occur spontaneously.

According to William Shakespeare, the nature is encountered with unbounded sequence of earthly objects and beauteous outpourings occur in the mental attitude of the poet. To speak the truth, the poet has an immense love for his beloved and in exchange of anything it is pure and unparalleled. The poet envisages that due to changes on the nature, his love will never be changed rather it will be hidden forever. In this poem, the theme is ideally judged in terms of allegorical meaning of real love and purity of life. It is obvious that the poet's love is heavenly dedicated which lies forever. It is neither perishable nor changeable. According to him, his perpetual and happy love always remains in his inward eye, which reveals the utmost sphere of livelihood. His life is without love for his beloved does not show any significance of real life in the sense.

There is no denying the fact that once there was discernment that brought into being popular during the 16th century in England. It was in fastidious proliferated by the Tudor rulers in order to ensure the prolongation by their rules as the system of kingship was supposed to be fixed by the deity himself where men's willingness was fake and fabricated. This doctrine affirmed that the king was god specified, self-governing and a direct representative of supernatural being on earth. Therefore under no state of affairs was the king to be aloof, put back as this throne appropriated on this would be alongside the strength of character of God. Once a king was named he was to remain one until he died or usual death and even to step down from the kingship was not permissible.

In his famous book, 'Troilus and Cressida' William Shakespeare verbalizes, "Take but degree away, untune that string, And hark, what discord follows" where he sought after to articulate explicitly that for the Elizabethans, the dominion was not minimally a well-designed role where it was a fundamental part of a pecking order predestined by God himself which accommodates the celestial, saintly, human being, mammal and materialistic world. Everything had its selected place in this progression. To dislocate was to provoke pandemonium. The king was God's right to be heard on earth and whichever attempt to squeeze the throne from him would lead to mayhem and suffice it to pronounce that it was not some far-flung theory which subsequently several Shakespeare's plays are apprehensive with the remove from power of kings - and that cataclysm perpetually tag along - is a manifestation of the implication of the impression, and of Elizabethan fretfulness about the chain to the queen.

The Elizabethans would have initiated it easier said than done to comprehend Lear's renunciation. Even of inferior quality was to carve up the kingdom and thus generate scope for potential rivalry: such an accomplishment could not be tolerated by a people for whom the internecine bloodlettings of the wars of the Roses hang about a folk reminiscence. Shakespeare's social group would understand Lear's tribulations: a worn-out aged king with no son to succeed to his favorite daughter uncommitted. But they would have distinguished no answer but for the king to endure: God had placed him on the throne and, in the comprehensiveness of time, God would remove him. If they implicit Lear's dilemma, they would recognize even better the chaos mechanism from his wrong-headed resolution.

There is supplementary delicate standpoint in which we have to view this premise of kingship. The play seems to point toward that the altitude of the throne can distort the person who occupies it. Lear has been congregated for so long with adulation that he can no longer make a distinction connecting sincerity and deception. He has for so long been obeyed in every scrupulous that he cannot stand for the slightest delay in the observance of his wishes. That which in the young king might have been forthright and assertive has now degenerated into the vain, harsh and imperious. It is an inquiring feeling whether it occurs in the case of all leaders, rulers and kings. Perhaps but what we know for certain is that Lear has to undergo an agonized flaking away of accumulated layers of insensitivity and obtuseness before finding himself. Would he have needed to do so if he had been a humble servant rather than a sovereign? It seems by a hair's breadth likely. Is a king sufferer as able-bodied as a ruler?

Even supposing, misfortunes in King Lear shoots up to a paramount celestial height, the chronicles finds its pedigree in an awful status like run of the mill which envisage the apprehension between parents and grown up children which reflect readers to be more intensive to have eagerness to know the situation ahead. At its simplest, the play concerns itself with the expectations of aged parents and the differing responses of their adult children. Shakespeare's Macbeth had no doubt about 'that which should accompany old age' which he clarifies as 'tribute, devotion, submission'. King Lear would certainly say amen to that although he would add gratitude. His antagonism with Cordelia stems not only just from mortification and hurt pride, but also from rage at her apparent ungratefulness. As he is progressively broken by Goneril and Regan, his torment resounds on this theme and even until he begins to learn through suffering, Lear's thoughts are for himself of what his children's obligations are to him, of what he has done for them and how it should be rewarded. The key problem is that both parents and children are confronting a time of changeover, of exchange of power and authority. The parents are in taking a rain check, the young at the peak of their power and energy. We see two responses from the children. One, from Cordelia and Edgar, is to love and succour their parents, accept their faults, bear no grudge, bide their time. The other, from Goneril, Regan and Edmond, is ruthless, self-centered, annoyed and heavy-handed. The old are past it, no more than an encumbrance and an obstruction. They must be hard-pressed aside and inheritance detained. The best expression of this comes from Edmond, in the words he attributes to Edgar:' I have heard him of mountain it to be fit that, sons at perfect age, and fathers declined, the father should be as ward to the son and the son manages his revenue' . Lear, of course, receives similarly short sheriff and In scene iv Goneril speaks repeatedly of his dotage the point is driven home later by Regan. As his daughters strip him of his retinue, Lear brokenly points out' I gave you all'. The retort expresses well the philosophy of usurping 'And in the nick of time, you bestow it' and as such the fool drives home the point:

'The hedge sparrow fed the cuckoo so long
That it's hard if head bit off by it young'

Lear, Gloucester and Kent cherish a conservative view in which family bonds, commitment, amazement and reverence for pecking order are paramount: Gloucester, surveying the crumbling of Lear's world and his own, laments: "We have seen the best of our time, Edmond, Goneril and Regan are the hard-headed, clear-sighted progressive - modernists who have no time for antiquated ideas. They are of today and the future, ordering their lives and very much in charge of their fate. The conflicting attitudes of the children reach their apotheoses dramatically. Goneril and Regan combine to break their father; Edmond contributes to the blinding of Gloucester. Nothing will be allowed to stand in their way. A corresponding apotheosis restores the old values; when Edgar leads his blinded father to some retrieval of hope and happiness, when cordelia reassures the bewildered Lear, they are not being obedient, not responding to any hierarchical imperative. They are simply expressing a love, loyalty and regard too strong to have been undermined by the rash misjudgment of their father.

This straightforward fiction of two impulsion aged men, betrayed by self-interested progeny and redeemed by the feelings of affection for of a wronged child, has a widespread significance. As children we have got to all come to terms with our attitudes to our parents, to their and our shifting needs. As parents we must brazen out the fact that our children will outgrow us and supersede. It is evident that there is no easy answer, no superficial ethics. conceivably, however, we learn with Lear and Gloucester , Cordelia and Edgar, that the old must not anticipate to receive all, must continue to give, to realize to learn- and the young must hold out care for and respect for as long as we are concerned with or for craving to receive in question. Things cannot be hurried for which it is universally noted that ripeness is all.

Not only in King Lear, had he written many tragedy plays where has he enlightened the problems, love and enmity of human beings. In Hamlet, he had added the beauty of Hamlet with nature and supernatural aspects. In this book, he had used many literary techniques like simile, metaphor and soliloquy with which he led his pen about Hamlet with unbounded courage and hardihood. When Hamlet came to learn the death news of his father, he became amazing and he was also surprised that his mother had married his uncle Claudius. By supernatural aspects of his father's ghostly sprits, he learnt about the conspiracy of his uncle and mother and as such he promised to revenge against the murder of his father. William Shakespeare very nicely represented the character of Hamlet and finally he became successful when Hamlet had had his revenge at last against his uncle and mother.

All the way through suffering, Lear learns a new ethical view of his life and human relationship with one another specifically if the relation is framed with close human ties. According to him, it is a judgment nowhere in signal in early stages of the play, which develop in a mood of ruthless materialism, of that which can be counted and measured. Gloucester and Kent have a discussion of the sharing out of the kingdom; Lear wants his daughters to express the dimensions of their love; the actual number of knights becomes a crucial symbol of self-hood. A man it appears is what he owns, an expression of his belongings having stressed by his daughters into justifying his needs for a retinue, Lear's speech beginning 'O reason not the need' is magnificently moved, but cracks down in confusion. He seems to be asserting that man needs superfluous items in order to mark him off from animals, but the line of thought will not hold. It is, in any case a view that he will draw closer to discard.

It is throughout the storm that Lear loses his footing towards a conception of what a man really is, what his true needs are. From uncontrolled against charlatan, he turns to sympathy for the unrehearsed -'meager nude wretches' before becoming one himself by dragging off his clothes in emulation of poor Tom. He, by his cosmopolitan outlook enunciates through the world of surface impressions: he recognizes and expresses that he is one of the lowliest. Lear continues to learn of keen necessity of honesty, sincerity, simplicity and openness. It is a theme which culminates in his in his reunion with Cordelia and particularly in his birds in the cage speech. The important thing is to be with those one loves and trusts, to seek and offer forgiveness as may be necessitated to make merriment's to each other company. And regarding the justice of human beings, we find in King Lear that the wealthy and mighty don't guarantee even handed justice; those with the whip-hand of power and authority often abuse it. Considering Lear's trial of his daughter's affection his disgusting punishment of Cordelia and Kent; the flaying of Lear and Gloucester by the newly installed high and mighty; the cruel death of Cordelia. The demented trial of scene iii act vi some how projects deceptiveness of it all, while Lear's eruption in scene IV against the rascal beadle and robes and furred gowns is a fulminating attack on evil motives virtually. Gloucester contributes to this understanding in that his blinding, by rich and elevated is a catalyst which simply attracts goodness from the ordinary servants and the old man who guides him. This is why like Lear he comes to see the importance of sharing affluence and ruination excess. The best certification of righteousness seems to lie not in setting one man over another, but in mutual sympathy and regard for each others dignity and needs. As we are to conjecture that lusting after riches and belongings is eventually self slaughter and severe death of Cornwall, Goneril, Regan, and Edmond seem to peak to this. On the other hand, Lear and Gloucester- two old men who suffer and loss so much -seem in a sense to be triumphant, for they achieve some grasp of man's need for outspokenness, justice truth, absolution and love.

In his literary creation, he had shown that over ambitious in life is a dangerous thing. In Julius Caesar, Brutus was an over ambitious person and he had a long cherished desire to become a king over night. But after killing the king Caesar, he had been cut into pieces let alone being the king. Similarly, Macbeth was over ambitious but his consequence was very fatal. He had written a number of historic plays and romantic comedy. In all of his creation, he was second to none in creating history in English literature by his unbounded race towards the reforms process of human defects and the maxim of nature.

What is Coming Out of Those iPods? How Music is Ruining Our Kids

I was in Argentina for three weeks this year. My wife and I were checking into a hotel, and the young man helping us behind the counter was in his early twenties. There was a radio on behind him, and when a new song began to play, he smiled and turned it up as he found our reservations on his computer screen. The music was Tango-you know-accordions and everything. It wasn't something I listen to, but going to Argentina, I was looking forward to learning about it.

When the song began, the young man began singing along. He sang quietly, but unabashedly. Another receptionist, a young girl next to him, began swaying her shoulders, as if someone had just come up from behind and put their arms around her. It was a slow love song, and I thought it was quite beautiful. It was obvious Argentina's younger generation takes their music just as seriously as ours.

You don't need to be at teacher to see how hooked our youth has become to music and their portable music devices-MP3 players, iPods, cell phones-they now carry more music in something the size of a lighter than all the CDs I've owned in my life. Not that music itself is a new obsession among the young, but the ease with which kids can now access it makes it seem like it's more popular than ever. They are plugged in when they wake up, when they walk to school, in between class, IN class, after school, on the bus, at the mall, and even at the dinner table. It's been an amazing thing to see-the evolution that began with the walkman and has ended with iTunes.

Of course we all have our opinions about this phenomenon, and there are a lot of directions I can go with this. Is this reliance on cell phones and iPods making our kids more selfish, closed off, anti-social, and in the end, disrespectful? Or is it an acceptable reprieve from their difficult lives, a place they go to escape? The culture of hand-held electronics is a divisive issue and everyone has strong feelings, I'm sure. But I'm going to focus on the aspect of this issue I feel is most important.

What is coming out of those earphones?

I love hip-hop and rap. LOVE IT. In fact, I grew up listening to it, and I didn't listen to much else. I know every song of Cypress Hill's "Black Sunday" by heart. If you gave me a beat, I could rattle off more verses of Biggie Smalls, Talib Kweli, and Wu-Tang Clan than all my students put together (unfortunately I'm not great at freestyling). To demonstrate Iambic Pentameter to my students, I rap Shakespeare's sonnets, and have them beat their desks to the stressed syllables. I own turntables (yes, for records), and next school year I have decided they will take up permanent residence in my classroom.

And when Doggystyle first came out, it was the defining album of my youth.

But today, I feel rap music has become one of the worst parts of our culture, and I have turned my back on it.

Whew. It was hard for me to say that, but there it is.

When rap first came out, it was revolutionary. Public Enemy, NWA, Snoop Dogg, Tupac and Biggie. It was new and fresh. It brought to life aspects of America not many people had realized existed until then. It showed us the plight of African-Americans in our poorest cities, and reminded us that we still had a long way to go before true equality could ever exist. And it boldly met these problems with a justified anger, with a new twist to Rhythm and Blues that let us really get funky and freaky. In short, it was cool, and it had a message.

But here we are, thirty years later, and not only has mainstream rap failed to evolve, it has become petty and ignorant. Gone is the political anger that resonated from Run DMC and Chuck D. Gone is ANY sort of message aside from a love of material wealth (which includes women, who are possessions not people) and a hatred of, well, not The Man anymore; now a rapper's angst is focused only on Haters, whoever the hell they are supposed to be.

Today, the biggest guy in rap is aptly named Lil' Wayne, perhaps highlighting rap's importance in anything these days. Let me show you some of his lyrics:

I say he so sweet, make her wanna lick the wrapper
So i let her lick the wrapper
Hook
She-she-she lick me like a lollipop (yeah)
She-she lick me like a lollipop, lollipop (yeah)
She-she-she lick me like a lollipop (yeah)
She-she lick me like a lollipop, lollipop

Chorus
Shawty want a thug (yeah, yeah, yeah)
Bottles in the club (yeah, yeah, yeah)
Shawty wanna hump (yeah, yeah)
You know i like to touch (yeah) your lovely lady lumps
(She lick me like a wrapper)

Shawty want a thug (she lick me like a, i like that)
Bottles in the club (i like that)
Shawty wanna hump (haha)
You know i like to touch your lovely lady lumps
(come on, yeah)

Honestly, that's got to be the worst song I've ever heard in my life. Unfortunately it is the most popular song on Lil' Wayne's album Tha Carter III, and he is the most popular rapper in the world right now. He is The Beatles. He is Bob Dylan. Can you honestly say you think a 13-year-old-girl should be learning this song by heart? No? Well guess what, there are millions of them who listen to that song twenty times a day, and even know the dance that goes with it.

Of course, I'm being hard on Rap, but this kind of ridiculous drivel is evident in ALL the music our kids listen to. One of the most popular songs in 2010 has been "I've Gotta Feeling", a techno-dance song by The Black Eyed Peas. Here is the last verse:

Here we come
Here we go
We gotta rock
Easy come
Easy go
Now we on top
Feel the shot
Body rock
Rock it don't stop
Round and round
Up and down
Around the clock
Monday, Tuesday,
Wednesday, Thursday,
Friday, Saturday,
Saturday and Sunday
Get get get get get
With us you know
what we say
Party everyday
p-p-p-party
Party everyday

What in God's name are they even talking about?

I try not to think about the fact that by writing that song (which is really just a list of clichés followed by the days of the week), will.i.am, their main songwriter and performer, made more money than I'll ever make in my life.

If a 9th grader wrote this as part of my Poetry Unit, I would fail them, and maybe set up an IEP meeting, because I might worry something was wrong with how their brain was processing language. I mean look, I get it, it's got a cool beat and is fun to dance to. It's about partying and sex. But really, I would love to sit will.i.am down and ask him just what in the hell he is trying to say with his music. And I would ask him and Lil Wayne this question: "Do you think your music is good for your youth audience in any way, I mean, do you think it benefits ANYONE ON EARTH?"

Granted, I could also post lyrics from Doggystyle and NWA, and could give an analysis of their lyrics in just as stark a light. But the difference is that with them it was NEW, and they really did have a message our country needed to hear at the time. But after thirty years, rap is nothing but a parody, and rappers are these ridiculous caricatures who stand for nothing but their own personal gain.

I remember something Ice T said in an interview about today's rap music. He said something to the effect of, "The funny thing about rap is that you sing about cars, women and money, and by doing that you get cars, women and money. It's a self-fulfilling prophecy." But here is where rap fails to really be an art-cars, women, and money are things, not themes.

Like I said before, it isn't just rap music. Look up the lyrics of any of your kid's songs, and you'll be surprised, and a little confused as to what they are even about. You'll also be mortified.

Here's the thing: when I was in Argentina this year, watching the young boy and girl sway to a Tango love song, I couldn't help watching them with awe and admiration. They were raised listening to this deep, cultural sound, and it had made them who they were. It was a part of them, and I thought about our kids back home, and what kind of music had bonded into their beings.

In Argentina, a poignant love song in the Tango is a part of every kid's soul. In the US, the souls of our kids are made up of "She-she-she lick me like a lollipop (yeah)."

So it has been with a heavy heart that I have turned my back on rap. Although it hasn't been too hard for me, because to me, Lil' Wayne isn't rap or hip-hop. He is nothing.

But the biggest issue here is that our kids don't stand for anything anymore, because the music they listen to doesn't stand for anything. They are focused on material wealth, and other things, because our music has lost its deeper themes. Today's music is about sex, partying, and things, and nothing else.

Actually, it is about one other thing-being stupid. There is actually a movement out there in music that is simply calling for kids to be a dumb as they can possibly be. They actually say it! "Go dumb," "Get stupid," and the latest by none other than the Black Eyed Peas "Let's get retarded." These artists are literally telling kids to be morons, and they are tuning in by the millions.

So when I see all these kids on campus, and at the mall, and on the streets plugged into their iPods, I know they are bonding with the music that is absorbed into their bodies every day, and it is becoming a part of who they are. The problem is that they are absorbing guys like Lil' Wayne, or as I call him, nothing. And they are becoming nothing, because that is what our music has become, especially rap, my first love.

As for me, I'm still going to listen to the hip-hop of my youth, and the underground artists out there who still have a message. But it will always be with mixed feelings. Maybe next time I teach Romeo and Juliet to my 9th graders, I'll rap these lines:

"My only love sprung from my only hate, too early seen unknown, and known too late! Prodigious birth of love it is to me. That I must love a loathèd enemy."

Better yet, I'll recite it to my students with some Tango music in the background.

MUCH ADO 17: If I Could Write a Sonnet

Sung by Paul McGann, this is one of anumbered series of videos using the music of Bernard J. Taylor, whose musical version of MUCH ADO was partly inspired by the Kenneth Branagh movie of one of William Shakespeare's most popular plays. Scenes from the movie are used to illustrate the narrative context of the songs. The musical was first performed at Shakespeare's birthplace, Stratford-on-Avon, in 1997, with some members of the Royal Shakespeare Company in the cast. For more information go to www.bernardjtaylor.com

"Reflections From the Wilderness" is a Superb Volume of Western Poetry

Stoney Greywolf Bowers, a cowboy and wilderness adventurer, is a man who has lived the life that many dream of living, but few have the courage to. This life is both celebrated, and mourned, in his unforgettable first volume of poetry entitled, Reflections from the Wilderness (Moonlight Mesa Associates, Inc. 2009).

A working cowboy for over 35 years, Bowers is able to describe events and sights few will ever experience. Whether driving broomtails over the Divide, "riding for the lead while heading off a stampede," lamenting the abysmal treatment of Native Americans, or living alone in the wilderness for years on end, Bowers is able to capture the moment with a sincerity not found elsewhere.

His writing, at times classic, at other times uniquely his own, is overall extremely mournful. Sadness pervades his work, with only a few exceptions, most notably "Jake and the Snake" and "A Horse Called Bladder." Other poems are solemn and heart-felt. All are philosophical and poignant. This is a cowboy who saw much, and felt much, and who miraculously managed to record his experiences on bits of paper out on the trail.

His Western poems, comprising the largest portion of the book, are unforgettable as he talks about the Cowboy way, "riding for the brand," stampedes, and the disappearing West, slowly sectioned off by miles of barbed wire. Some of the poems are downright, starkly unsettling, such as "Trails End," where the riders, caught in a blizzard while driving cattle, come upon the frozen remains of an old cowboy, to the haunting "High Plains Drifter," and the traditional "Code of the West."

Even though Bowers' cowboy poems are excellent and authentic, for some readers the Native American selection in this book will be the highlight. These poems are truly written with intensity and passion, with the author almost surgically revealing the deep wounds of having lived and worked with youngsters "on the 'rez." Each poem brings emotion and pain with it, yet pride too. Never has the Native American's plight been so graphically, tragically, and explicitly expressed.

Finally, Bowers' poems of the American Wilderness reveal a man who is not afraid to be alone, to go into that vast unknown territory for years at a time, and to emerge singing of its glory, but also lamenting the environmental destruction that became so apparent.

This is a book that truly captures the West and sings gloriously of cattle and the rugged men who drove them. It deeply laments the ending of a way of life. Bowers' pages are filled with sorrow and loss, but also pride and love. It's a remarkable volume of poetry. Some are brilliant; all are good.

Truly, Reflections from the Wilderness is a work of Art. It is History. It is a slice American History. Reflections from the Wilderness is available from the publisher at www.moonlightmesaassociates.com, Amazon, and retail book stores.

What Style of Wedding Vow is Right for You?

Thinking about writing your own wedding vows? If so, you're not alone. Millions of couples are bypassing traditional ceremonies in favor of something that's more personal - and that's great! But problems arise when couples aren't clear with each other about the style of vows they want. What mood do you want to convey? Light-hearted and cute? Short and sweet? Witty? Sentimental? There are almost as many styles of vows as there are vows themselves. Here's a quick guide to a few of the more popular styles to help you choose the one that best suits you and your spouse-to-be.

Traditional

Yes, you can still be "traditional" even if you aren't sticking to the prepared wedding vow script. If you are aiming to be very traditional, all you need to do to prepare is to look up a traditional wedding vow, such as those that begin with phrases such as, "In the name of God," or "From this moment, I (name) promise to take you (name), to be my wife/husband..." and so on and so forth. Once you find a traditional vow you like, rewrite it to fit your own personal feelings towards your partner.

Sentimental

If you wish to write a romantic wedding vow, and you are not endowed with the gift of poetry, you can look into reading some famous love poetry - for example, sonnets by Shakespeare -- and see if you can use one of their ideas as a way to express your feelings about your partner. You may even wish to quote the poet directly, by referring to lines in their poem. You can also think about the love songs that you will be using during your special day, and see if the lyrics of these songs can help you to express the way you feel.

Lighthearted and cute

If being lighthearted and cute sounds fitting, you can go about implementing this style in your wedding vows by first thinking of all the fond memories you shared with your partner that really made you smile and brought you closer together. Write down each one of these memories and choose the one that you believe to be the most suited and tasteful for your wedding. This style is an excellent way of expressing how much you loved your partner before, and how much more you love them now.

Witty

If you have a sharp sense of wit, it could be one of the many characteristics that your partner loves about you so much. Use your sense of wit to your advantage by using tasteful humor to spice up a wedding vow by making it romantically playful. However, as a strong word of caution, if you've noticed no one seems to laugh at your jokes, or you can never seem to get the punch-line of a joke, you may want to fess up to your lack of wit and choose another style for your wedding vows. You may also want to take into account that your sense of wit may be something your partner tolerates with good humor, while others may not be so kind.

Simple

Sometimes having a simple style is the best way to go. A simple wedding vow is composed of a few words that come straight from your heart. You don't need to serenade your partner with a self-composed sonnet. A simple "I love you" and "I'm glad to be sharing my life with you," along with a few extra heart-felt words can be perfect.

Short and Sweet

Short and sweet vows are very much like the simple wedding vow, except that a short and sweet vow is limited in words, and the words used are often much more concise and straight to the point. Poetry may help you to get an idea of how to express your vows in this manner. However, be mindful of vows that are too short and sweet. You may also discover that although your vow is short, it might be lacking in the sweet department. The last thing you want to do is prepare a short vow that sounds emotionless. Once you have completed these seven steps, you will be ready to start writing your vows. Remember, you don't have to be Shakespeare to write a vow that will touch the heart of your partner. A wedding vow comes from the heart. Regardless of how long you decide to make it, it is a personal expression and promise that accentuates the love you have for your spouse-to-be.

Improving Writing Skills : How to Write a Sonnet

Sonnets are 12-line adoration poems that rhyme every other line, and the first step to writing a sonnet is to find a passionate subject. Find out more about how to write a sonnet with tips from a English professor in this free instructional video about improving writing skills. Expert: Laura Turner Bio: Laura Turner received her BA in English from the University of the South in Sewanee, Tenn., graduating magna cum laude with honors. Her plays have been seen and heard from Alaska to Tennessee. Filmmaker: Todd Green

How to Write a Madlib

Madlibs can be highly amusing, and a good way to spend some time if you're looking for something fun to do.

They're pretty easy to do, so they should also be pretty easy to create, right? Not exactly. To create a successful Madlib, you need to keep a few things in mind:

1. Know your parts of speech. This is the most important one. When you're asking someone for a noun, verb, adjective, etc., you need to be sure you're clear on what these are. Otherwise, the end result isn't going to work. Here are some quick, general definitions and examples of five basic parts of speech most often used in Madlibs, nouns, pronouns, adjectives, verbs and adverbs.

Noun - a person, place, thing, or idea, (e.g. Brian, Paris, shoe, freedom) often marked by the articles, "a," "an," and "the."

The boy sang a song about love.
In this example, boy, song and love are all nouns.

Pronoun - a word that takes the place of a noun (e.g. he, she, it)

She ate an apple.
In this example, she is a pronoun.

Adjective - a word that modifies a noun or pronoun. In general, an adjective tells the reader what kind, how many or which one.

Alex rode a red bicycle.
In this example, red is an adjective (describing the noun, bicycle).

Verb - a word that expresses an action (e.g. run, jump, paint, sing) or state of being (e.g. is, become, seem).

Sarah wrote a sonnet.
In this example, wrote is a verb.

Adverb - a word that modifies a verb, adjective or another adverb, and generally answers the questions, where, when, how, why, under what circumstances, and to what extent.

Ann skipped happily.
In this example, happily is the adverb (modifying the verb, skipped).

These parts of speech are very basic and cover a broad area, so our next step in creating a successful madlib is:

2. Be specific. You know what kind of word you have in mind for each blank in your Madlib, so be sure to be specific enough to your reader, so they can choose a word that fits well. Some things to keep in mind:

Singular or Plural?

When asking for nouns, indicate whether they should be singular or plural. Let's see an example:

Singular: John threw a book across the room.
Plural: John threw a books across the room.

Singular works best here, so you should ask for a singular noun for this blank.

Being specific will clear up any confusion or inconsistencies in your Madlib.

Verb Tense

When asking for verbs, specify whether they should be present or past tense (or even future tense). An example:

Present: Yesterday, Liz dance with Roger.
Past: Yesterday, Liz danced with Roger.

Clearly, past tense works best here.

It's a good idea to be specific with all your blanks. That way, your reader knows what kind of words to fill in instead of guessing, running the risk of the Madlib sounding awkward later.

Of course, being specific works only to a certain point.

3. Don't be too specific. Asking for a number is fine, but asking for a number "between one and five" is a little too specific. There is an element of chance involved in Madlibs. Sometimes a reader chooses a word that fits perfectly (which may not make the Madlib as entertaining), but let that chance be up to the reader. That's part of the fun of Madlibs.

The rest is pretty much up to you. Madlib writing isn't an exact science. Experimenting and testing is key. Write a Madlib, and try it out yourself before you let it loose on everyone else. Try other Madlibs and find out what you think works and what you think doesn't work.

Madlibs can be lots of fun and very entertaining for the creator and for its participants.