anyone lived in a pretty how town, e.e cummings

e.e. cummings - anyone lived in a pretty how town

anyone lived in a pretty how town
(with up so floating many bells down)
spring summer autumn winter
he sang his didn't he danced his did

Women and men(both little and small)
cared for anyone not at all
they sowed their isn't they reaped their same
sun moon stars rain

children guessed(but only a few
and down they forgot as up they grew
autumn winter spring summer)
that noone loved him more by more

when by now and tree by leaf
she laughed his joy she cried his grief
bird by snow and stir by still
anyone's any was all to her

someones married their everyones
laughed their cryings and did their dance
(sleep wake hope and then)they
said their nevers they slept their dream

stars rain sun moon
(and only the snow can begin to explain
how children are apt to forget to remember
with up so floating many bells down)

one day anyone died i guess
(and noone stooped to kiss his face)
busy folk buried them side by side
little by little and was by was

all by all and deep by deep
and more by more they dream their sleep
noone and anyone earth by april
wish by spirit and if by yes.

Women and men(both dong and ding)
summer autumn winter spring
reaped their sowing and went their came
sun moon stars rain

e e cummings

Extract 1: Twelfth Night

Extract 1

1) In what ways does the scene serve to set the romantic atmosphere of the play as a whole?
2) What are your feelings towards Orsino at the end of this opening scene?

Literary/historical context: The extract was written by William Shakespeare between 1599 and 1602, for the festivities of the night before the Christian Feast before Epiphany, also called Twelfth Night. As written for the purpose of festivities, Twelfth Night is fundamentally a play with humorous overtones.

Name of work and author(including dates): The extract is from Twelfth Night

o Context of extract: This extract is the start of the actual play itself, and introduces us to Duke Orsino, a very significant character in the play. He is shown to be pining for a woman named Olivia, who too serves as an important character, as they will come to form a love triangle of sorts where Viola comes into a picture.

Intro for the 2 sections of talk and line references: The commentary analysis can be split into two parts.
o Identify the three sections: My analysis shall be split into two parts the first being on the characterizations of Duke Orsino, and the second being how this scene serves to set the romantic atmosphere of the play as a whole.

For the main commentary:
o For poetry, comment on how the words contribute to the imagery, emotion, rhythm/rhyme, tone, word choice
o For extracts, add in the above, as well as how words contribute to characterization, setting/atmosphere, narrative style and main themes.

Section 1: Characterisation of Duke Orsino
o Regular use of blank verse as a medium, meaning that the audience will become accustomed to hearing its iambic rhythms, and to regulating their listening accordingly.
o Use of blank verse contrasts with prose such that spoken prose marks a deviation from the norm that is supposed to be noticed. In this extract, the switch is caused by Curio, whose use of prose indicates him as a commoner, emphasising Orsino’s use of verse which denotes his rank and nobility. High diction also marks Duke Orsino out as a nobleman.
o Much of Orsino’s initial speech makes reference to music, with words and phrases such as ‘music be the food of love’, ‘strain’, ‘fall’, ‘came o’er me ear like the sweet sound’ and ‘pitch’. This reference to Orsino’s love for music could show that he might possess hedonistic tendencies, or being a very idealistic person.
o In this way, a connection is drawn between the music and Orsino’s love, which is evanescent in nature.
o Orsino wishes to have ‘excess of it’, so that ‘the appetite may sicken and so die’.
o Words employed like ‘surfeiting’, ‘sicken’, ‘die’ and ‘dying’ gives a sense of passion that borders on decadence.
o He is convinced that he needs to be rid of love, and that getting Olivia’s love might be the way to do it.
o Hence, we wonder whether Orsino is truly in love, and his casual attitude to love creates the impression of a man who is fickle. The words ‘Receiveth as the sea, nought enters there’, also contrasts with the phrases ‘But mine is all as hungry as the sea, And can digest as much.’ In Act 2 Scene 4. We see that ultimately, Orsino could also be said to be arrogant, in a way, because he values himself highly, and possesses an egocentric view of the world.
o He contradicts himself, and the reader is ever more convinced that Orsino might be a man inconsistent in his endeavours?
o The following lines ‘Of what validity and pitch soe’er, But falls into abatement and low price. Even in a minute. So full of shapes is fancy That it alone is high fantastical.’ Only serves to allow Orsino to further describe his very own suffering at the hands of love, that his need for love causes all other good things in life to fall ‘into abatement’, or to lose their value. There is a great sense of self-indulgence here as he seems to be completely caught up in his own ideas.
o Punning on the word ‘hart’, meaning both a male deer, as well as “heart”. Orsino hunting for love? Gains the attention of the audience, and audience derives intellectual satisfaction from working out the pun.
o ‘Away before me to sweet beds of flowers! Love thoughts lie rich when canopied with bowers.’ Rhyming couplet closes long speech of blank verse. In this case, the ending couplet is typical of a romantic sonnet, showing how Orsino idealises the paradigms of traditional Romantic love, also drawing the attention of the audience to the meanings of Orsino’s departing words.
o Orsino’s self-absorbance is further emphasised with the imagery of ‘fell and cruel’ hounds. There is allusion to the myth of Diana, a goddess of chastity, whom sends her hounds to kill a hunter who saw her naked. Orsino is convinced that Olivia, by denying him, is being unnecessarily cruel to him in refusing his love. He compares himself to the hunter, who would die just to see Diana, again, another hyperbole regarding his actions.
o Pun on the word ‘hart’. Smarter then he appears to be. Audience assumes that he mistook the word ‘hart’ for heart’, then believed to be the noblest organ of the body, but the repetition of the word ‘hart’ proves that the pun is intentional, and that Orsino has still some wits about him?
o Orsino has praises Olivia to the point of exaggeration (‘purged the air of pestilence’, ‘hath a heart of that fine frame, To pay this debt of love but to a brother’ shows how he admires her devotion to her brother, who has also just died. If she is so devoted to her brother, how much more devoted would she be to Orsino if he becomes her husband.
o ‘Her sweet perfections, with one self king!’ Orsino hopes that Olivia will belong solely to him; he wishes to be her master and her king; a certain sense of arrogance here?
o ‘Away before me to sweet beds of flowers! Love thoughts lie rich when canopied with bowers.’ Rhyming couplet closes long speech of blank verse. In this case, the rhyme plays up the catchiness of the ending couplet, drawing the attention of the audience to the meanings of Orsino’s departing words.

Section 2: Romantic Atmosphere of the Play
o Romantic atmosphere is set by Duke Orsino, who seems to be the conventional lovestruck romantic; represented by ending couplets and use of high diction within the play.
o ‘Away before me to sweet beds of flowers! Love thoughts lie rich when canopied with bowers.’ Rhyming couplet closes long speech of blank verse. In this case, the rhyme creates a romantic, gentle flow within his closing words, drawing the attention of the audience to the meanings of Orsino’s departing words.
o Orsino lovesick, ideals of romance but nothing substantial?
o “Illyria”, a mythical land? Heightens the sense of myth surrounding the whole play
o Twelfth Night, a night of festivities; foreshadows that the play will end on a positive note, emphasising the romantic notion of the play.



Concluding thoughts:
o Explain importance of passage within the whole work
o How does it provide an answer to the guiding question? Evaluation of Orsino’s character
o From what other angle could you approach the extract? If there is time. Allusions to other literature, ideas or philosophy. From another perspective

IAN SAMUEL LIN

IAN SAMUEL LIN. he is an indonesian from palembang. his wooden hut collapsed because a coconut fell on it.

Classical Education

From wikipedia

Classical education as understood and taught in the Middle Ages of Western culture is roughly based on the ancient Greek concept of Paideia. China had a completely different tradition of classical education, based in large part on Confucian and Taoist traditions. This article concerns the Western tradition.

Classical education developed many of the terms now used to describe modern education. Western classical education has three phases, each with a different purpose. The phases are roughly coordinated with human development, and would ideally be exactly coordinated with each individual student's development.

"Primary education" teaches students how to learn.

"Secondary education" then teaches a conceptual framework that can hold all human knowledge (history), and then fills in basic facts and practices of the major fields of knowledge, and develops the skills (perhaps in a simplified form) of every major human activity.

"Tertiary education" then prepares a person to pursue an educated profession, such as law, theology, military strategy, medicine or science.

Primary education
Primary education was often called the trivium, which covered grammar, logic, and rhetoric.

Logic and rhetoric was often taught in part by the Socratic method, in which the teacher raises questions and the class discusses them. By controlling the pace, the teacher can keep the class very lively, yet disciplined.

Grammar
Grammar consists of language skills such as reading and the mechanics of writing. An important goal of grammar is to acquire as many words and manage as many concepts as possible so as to be able to express and understand clearly concepts of varying degrees of complexity. Very young students can learn these by rote especially through the use of chant and song. Their minds are often referred to as "sponges", that easily absorb a large number of facts. Classical education traditionally included study of Latin and Greek, which greatly reinforced understanding of grammar, and the workings of a language, and so that students could read the Classics of Western Civilization in the words of the authors. In the modern renaissance of classical education, this period refers to the upper elementary school years.

Logic
Logic (dialectic) is the art of correct reasoning. The traditional text for teaching logic was Aristotle's Logic. In the modern renaissance of classical education, this logic stage (or dialectic stage) refers to the junior high or middle school aged student, who developementally is beginning to question ideas and authority, and truly enjoys a debate or an argument. Training in logic, both formal and informal, enables students to critically examine arguments and to analyze their own.

Rhetoric
Rhetoric debate and composition (which is the written form of rhetoric) are taught to somewhat older (often high school aged) students, who by this point in their education have the concepts and logic to criticize their own work and persuade others. According to Aristotle "Rhetoric is the counterpart of dialectic." It is concerned with finding "all the available means of persuasion." The student has learned to reason correctly in the Logic stage so that they can now apply those skills to Rhetoric. Students would read and emulate classical poets such as Ovid and others in learning how to present their arguments well.

Secondary education
Secondary education, classically the quadrivium or "four ways," classically taught astronomy, arithmetic, music and geometry, usually from Aristotle and Euclid. Sometimes architecture was taught, often from the works of Vitruvius.

History was always taught to provide a context, and show political and military development. The classic texts were from ancient authors such as Herodotus, Thucydides, Livy, Cicero and Tacitus.

Biographies were often assigned as well; the classic example being Plutarch's "Lives." Biographies help show how persons behave in their context, and the wide ranges of professions and options that exist. As more modern texts became available, these were often added to the curriculum.

In the Middle Ages, these were the best available texts. In modern terms, these fields might be called history, natural science, accounting and business, fine arts (at least two, one to amuse companions, and another to decorate one's domicile), military strategy and tactics, engineering, agronomy, and architecture.

These are taught in a matrix of history, reviewing the natural development of each field for each phase of the trivium. That is, in a perfect classical education, the historical study is reviewed three times: first to learn the grammar (the concepts, terms and skills in the order developed), next time the logic (how these elements could be assembled), and finally the rhetoric, how to produce good, humanly useful and beautiful objects that satisfy the grammar and logic of the field.

History is the unifying conceptual framework, because history is the study of everything that has occurred before the present. A skillful teacher also uses the historical context to show how each stage of development naturally poses questions and then how advances answer them, helping to understand human motives and activity in each field. The question-answer approach is called the "dialectic method," and permits history to be taught Socratically as well.

Classical educators consider the Socratic method to be the best technique for teaching critical thinking. In-class discussion and critiques are essential in order for students to recognize and internalize critical thinking techniques. This method is widely used to teach both philosophy and law. It is currently rare in other contexts. Basically, the teacher referees the students' discussions, asks leading questions, and may refer to facts, but never gives a conclusion until at least one student reaches that conclusion. The learning is most effective when the students compete strongly, even viciously in the argument, but always according to well-accepted rules of correct reasoning. That is, fallacies should not be allowed by the teacher.

By completing a project in each major field of human effort, the student can develop a personal preference for further education and professional training.

Tertiary education
Tertiary education was usually an apprenticeship to a person with the desired profession. Most often, the understudy was called a "secretary" and had the duty of carrying on all the normal business of the "master." Philosophy and Theology were both widely taught as tertiary subjects in Universities however.

The early biographies of nobles show probably the ultimate form of classical education: a tutor. One early, much-emulated classic example was that Alexander the Great was tutored by Aristotle.

Modern interpretations of classical education
Much of the current and modern renaissance of classical education is owed to the Dorothy Sayers essay "The Lost Tools of Learning", in which she describes the three stages of the trivium, grammar, logic and rhetoric, as tools by which a student can then analyze and master every other subject.

"The Well-Trained Mind: A Guide to Classical Education at Home," by Jessie Wise and Susan Wise Bauer (W.W. Norton, 1999), is a modern reference on classical education, particularly in a homeschool setting. It provides a history of classical education, an overview of the methodology and philosophy of classical education, and annotated lists of books, divided by grade and topic, that list the best books for classical education in each category.

"The Grammar of Our Civility: Classical Education in America," by Lee T. Pearcy (2005) provides a theoretical and historical account of classical education in the United States and suggests the need for a distinctly American approach to ancient Greece and Rome.

Marva Collins has successfully taught a rapid-fire classical education to inner-city deprived children, many of them labeled as "retarded."

Also of note is "A New Trivium and Quadrivium," an article by Dr. George Bugliarello (Bulletin of Science, Technology & Society, Vol. 23, No. 2, 106-113 (2003)). In it, he argues that the scope of the classical liberal education is inadequate for today's society, and that people should also be conversant with the basic facts of science and technology, since they now form a much more important part of our lives than did the tertiary studies of antiquity. He argues for a new synthesis of science, engineering, and the humanities in which there is a balance between what can be done and what ought to be done, between human desires and earthly consequences, and between our ever-increasing power to affect our surroundings and the ever-present danger of destroying the ecological and environmental systems which allow us to exist.

No discussion of classical education could be complete without mentioning Mortimer Adler and Robert Hutchins, both of the University of Chicago, who set forth in the 1930s to restore the "Great Books" of Western civilization to center stage in the curriculum. Although the standard classical works—such as the Harvard Classics—most widely available at the time, were decried by many as out of touch with modern times, Adler and Hutchins sought to expand on the standard "classics" by including more modern works, and by trying to tie them together in the context of what they described as the "Great Ideas," condensed into a "Syntopicon" index and bundled together with a new "five foot shelf" of books as "The Great Books of the Western World." They were wildly popular during the Fifties, and discussion groups of aficionados were found all over the USA, but their popularity waned during the Sixties and such groups are relatively hard to find today. Extensions to the original set are still being published, encompassing selections from both current and older works which extend the "great ideas" into the present age and other fields, including civil rights, the global environment, and discussions of multiculturalism and assimilation.

There still exist a number of informal groups and professional organizations which take the classical approach to education seriously, and who undertake it in earnest. Within the classical Christian education movement, David Hicks, author of Norms and Nobility, the Society for Classical Learning, the Association of Classical and Christian Schools, and the CiRCE Institute, founded by Andrew Kern, co-author with Gene Edward Veith of Classical Education: The Movement Sweeping America, play a leading role.

In addition to many middle-schools and high schools across the country, there are at present several universities or colleges in the United States wherein such an Oxonian classical education is taking place:

St. John's College (two campuses, one in MD and one in NM);
Thomas Aquinas College in Santa Paula, CA;
New Saint Andrews College in Moscow, ID; and,
The Torrey Honors Institute at Biola University, in La Mirada, CA.
Gutenberg College in Eugene, OR
At each of these institutions some variation of the Canon of Western Great Books is used as the primary course material, and tutor-lead "Socratic discussions" are the primary vehicle for ingestion and digestion of the selected works.

A more traditional, but less common view of classical education arises from the ideology of the Renaissance, advocating an education grounded in the languages and literatures of Greece and Rome. The demanding and lengthy training period required for learing to read Greek and Latin texts in their original form has been crowded out in most American schools in favor of contemporary subjects. Latin is taught at some schools, but Greek rarely.

Nostalgic Poetry

From speareseuss.blogspot.com

IAN LIN very FAT!
Pang sai need a MAT
A CAT sits on the MAT
And the FAT SHAT (past tense of shit) on the MAT with the CAT

# posted by Fish @ 6:00 PM
Fish is ALSO HERE!

# posted by Fish @ 4:57 PM
IAN LIN IS HERE!

# posted by NIL NAI @ 4:47 PM
hello! here are some of our damn pro VERSES

Gobi very fat
More fat than a cat

He is Kevin Koh
Drink lots of cocoa

My friend Michael Yue(pronounced YOU)
Eat lots of DAO YOU

Ian Lin has a GUN
Inside got a BUN

OH is a faggot
like to eat MAGGOT!

He is Lim tak KEET
He got Big armpit

His name is JASBIR
He like to eat DEER

Darren Chew on ice
Got a lot of mice!

Chieh yao has an ear
he like to drink BEER

Hongyi very fat
He eat too much crap

This is lim Chan Tuan
Her nose look like Phuan

hello i can see!
i can see you pee!

Ian Lin has no brain
He fell into DRAIN

Ian Lin full of shit
he's a stupid git

His name is IAN LIN
He look like DUSTBIN

Dickson no muscle
only got PIMPLE

Juin Shiong big arse man
drink soft drink from CAN!

He is MISTER MA
He look like pizZA

I put on my SHOE
And stepped into POO

If you make me cry
I hoot you with a BHAI

My friend ANDREW YOUNG
Live in pulau PISANG