هنا جميع طلبات القسم الأدبي 2 [الأرشيف]

همي رضى ربي

06-10-2007, 06:10 PM

السلام عليكم ورحمة الله وبركاته
كل عاااااااااااام وانتم بالف خير ههههههه قديمه صح طيب من العايدين مقدماا
بنوتااااااااااات واللي يوفقكم دنيا واخره يارب بها العشر والله اني ادعي من كل قلبي للي تساعدني بها الورطه اللي انا فيها
انا بسنه اولى انقلش بكلية التربيه ماااعندي ماعند جدتي بالانقليزي معلمتنا قصدي الدكتوره حقت النثر معطيتنا قصه تبغاها اول يوم من بعد العيد نكون فاهمينها ومحللينها المشكله اني ماسكه الدكشنري كلمه كلمه اترجم فيها قاعده 4 ساعات على ربع صفحه ومع ذلك موفاهمه
ادري طولت عليكم امانه تحملوني حبتييين طيب
ابي اسال في مواقع تترجم نثر ترجمه حرفيه مجرد ادخل النص وتطلع الترجمه اللللللللللله
او فيه شي يساعدني بها الحاله اكيد فيه بنات كثير نفس حالتي
وتحليل القصه والشخصيات اقدر الاقيه

قولوا
آمييييييين بها الليله الفضيله اللي تساعدني او تدلني على شي ينفعني ان الله يوفقها دنيا واخره ويغفر لها ويرحمها ويسخر لها خلقه ولا يرد لها دعوه وينولها اللي ببالها واسال الله ان يفرج لها كربه من كرب يوم القيامه زي مافرجت لي كربتي
واللللللللللللللللللله دمعت عيوني وانا ادعي حسيت اني عجوز هههههههههه
واللله من كل قلبي ادعي ولاتنسون دعاء المسلم لاخيه المسلم بظهر الغيب مجابه وحنا بايام فضيله اسال الله ان يوفقنا لقيامها
لا لالالالا تنسوني امانه لو بدعوه ان الله يوفقني بها القسم

صح هذي القصه المطلوبه كيف اجيب الترجمه حقتها او التحلييييل
او من اللي يقدر يترجمها والله اني ماادري وش اقول اماااااااااااااانه لاحد يبخل علي لو يقدر يترجمها

MARRIAGE À LA MODE
ON his way to the station William remembered with a fresh pang of disappointment that he was taking nothing down to the kiddies. Poor little chaps! It was hard lines on them. Their first words always were as they ran to greet him, "What have you got for me, daddy?" and he had nothing. He would have to buy them some sweets at the station. But that was what he had done for the past four Saturdays; their faces had fallen last time when they saw the same old boxes produced again.
And Paddy had said, "I had red ribbing on mine bee -fore!"
And Johnny had said, "It's always pink on mine. I hate pink."
But what was William to do? The affair wasn't so easily settled. In the old days, of course, he would have taken a taxi off to a decent toyshop and chosen them something in five minutes. But nowadays they had Russian toys, French toys, Serbian toys–toys from God knows where. It was over a year since Isabel had scrapped the old donkeys and engines and so on because they were so "dreadfully sentimental" and "so appallingly bad for the babies' sense of form." [Page 152]
"It's so important," the new Isabel had explained, "that they should like the right things from the very beginning. It saves so much time later on. Really, if the poor pets have to spend their infant years staring at these horrors, one can imagine them growing up and asking to be taken to the Royal Academy."
And she spoke as though a visit to the Royal Academy was certain immediate death to any one. . . .
"Well, I don't know," said William slowly. "When I was their age I used to go to bed hugging an old towel with a knot in it."
The new Isabel looked at him, her eyes narrowed, her lips apart.
"Dear William! I'm sure you did!" She laughed in the new way.
Sweets it would have to be, however, thought William gloomily, fishing in his pocket for change for the taxi-man. And he saw the kiddies handing the boxes round–they were awfully generous little chaps–while Isabel's precious friends didn't hesitate to help themselves. . . .
What about fruit? William hovered before a stall just inside the station. What about a melon each? Would they have to share that, too? Or a pineapple, for Pad, and a melon for Johnny? Isabel's friends could hardly go sneaking up to the nursery at the children's meal-times. All the same, as he bought the melon William had a horrible [Page 153] vision of one of Isabel's young poets lapping up a slice, for some reason, behind the nursery door.
With his two very awkward parcels he strode off to his train. The platform was crowded, the train was in. Doors banged open and shut. There came such a loud hissing from the engine that people looked dazed as they scurried to and fro. William made straight for a first-class smoker, stowed away his suit-case and parcels, and taking a huge wad of papers out of his inner pocket, he flung down in the corner and began to read.
"Our client moreover is positive. . . . We are inclined to reconsider . . . in the event of–" Ah, that was better. William pressed back his flattened hair and stretched his legs across the carriage floor. The familiar dull gnawing in his breast quietened down. "With regard to our decision–" He took out a blue pencil and scored a paragraph slowly.
Two men came in, stepped across him, and made for the farther corner. A young fellow swung his golf clubs into the rack and sat down opposite. The train gave a gentle lurch, they were off. William glanced up and saw the hot, bright station slipping away. A red-faced girl raced along by the carriages, there was something strained and almost desperate in the way she waved and called. "Hysterical!" thought William dully. Then a greasy, black-faced workman at the end of the platform grinned at the [Page 154] passing train. And William thought, "A filthy life!" and went back to his papers.
When he looked up again there were fields, and beasts standing for shelter under the dark trees. A wide river, with naked children splashing in the shallows, glided into sight and was gone again. The sky shone pale, and one bird drifted high like a dark fleck in a jewel.
"We have examined our client's correspondence files. . . ." The last sentence he had read echoed in his mind. "We have examined . . ." William hung on to that sentence, but it was no good; it snapped in the middle, and the fields, the sky, the sailing bird, the water, all said, "Isabel." The same thing happened every Saturday afternoon. When he was on his way to meet Isabel there began those countless imaginary meetings. She was at the station, standing just a little apart from everybody else; she was sitting in the open taxi outside; she was at the garden gate; walking across the parched grass; at the door, or just inside the hall.
And her clear, light voice said, "It's William," or "Hillo, William!" or "So William has come!" He touched her cool hand, her cool cheek.
The exquisite freshness of Isabel! When he had been a little boy, it was his delight to run into the garden after a shower of rain and shake the rose-bush over him. Isabel was that rose-bush, petal-soft, sparkling and cool. And he was still that little boy. But there was no running into the garden now, [Page 155] no laughing and shaking. The dull, persistent gnawing in his breast started again. He drew up his legs, tossed the papers aside, and shut his eyes.
"What is it, Isabel? What is it?" he said tenderly. They were in their bedroom in the new house. Isabel sat on a painted stool before the dressing-table that was strewn with little black and green boxes.
"What is what, William?" And she bent forward, and her fine light hair fell over her cheeks.
"Ah, you know!" He stood in the middle of the room and he felt a stranger. At that Isabel wheeled round quickly and faced him.
"Oh, William!" she cried imploringly, and she held up the hair-brush: "Please! Please don't be so dreadfully stuffy and–tragic. You're always saying or looking or hinting that I've changed. Just because I've got to know really congenial people, and go about more, and am frightfully keen on–on everything, you behave as though I'd–" Isabel tossed back her hair and laughed–"killed our love or something. It's so awfully absurd"–she bit her lip–"and it's so maddening, William. Even this new house and the servants you grudge me."
"Isabel!"
"Yes, yes, it's true in a way," said Isabel quickly. "You think they are another bad sign. Oh, I know you do. I feel it," she said softly, "every time you come up the stairs. But we couldn't have [Page 156] gone on living in that other poky little hole, William. Be practical, at least! Why, there wasn't enough room for the babies even."
No, it was true. Every morning when he came back from chambers it was to find the babies with Isabel in the back drawing-room. They were having rides on the leopard skin thrown over the sofa back, or they were playing shops with Isabel's desk for a counter, or Pad was sitting on the hearthrug rowing away for dear life with a little brass fire shovel, while Johnny shot at pirates with the tongs. Every evening they each had a pick-a-back up the narrow stairs to their fat old Nanny.
Yes, he supposed it was a poky little house. A little white house with blue curtains and a window-box of petunias. William met their friends at the door with "Seen our petunias? Pretty terrific for London, don't you think?"
But the imbecile thing, the absolutely extraordinary thing was that he hadn't the slightest idea the Isabel wasn't as happy as he. God, what blindness! He hadn't the remotest notion in those days that she really hated the inconvenient little house, that she thought the fat Nanny was ruining the babies, that she was desperately lonely, pining for new people and new music and pictures and so on. If they hadn't gone to that studio party at Moira Morrison's–if Moira Morrison hadn't said as they were leaving, "I'm going to rescue your wife, selfish man. She's like an exquisite little Titania"–if Isabel [Page 157] hadn't gone with Moira to Paris–if–if . . .
The train stopped at another station. Bettingford. Good heavens! They'd be there in ten minutes. William stuffed that papers back into his pockets; the young man opposite had long since disappeared. Now the other two got out. The late afternoon sun shone on women in cotton frocks and little sunburnt, barefoot children. It blazed on a silky yellow flower with coarse leaves which sprawled over a bank of rock. The air ruffling through the window smelled of the sea. Had Isabel the same crowd with her this week-end, wondered William?
And he remembered the holidays they used to have, the four of them, with a little farm girl, Rose, to look after the babies. Isabel wore a jersey and her hair in a plait; she looked about fourteen. Lord! how his nose used to peel! And the amount they ate, and the amount they slept in that immense feather bed with their feet locked together. . . . William couldn't help a grim smile as he thought of Isabel's horror if she knew the full extent of his sentimentality.
. . . . .
"Hillo, William!" She was at the station after all, standing just as he had imagined, apart from the others, and–William's heart leapt–she was alone.
"Hallo, Isabel!" William stared. He thought [Page 158] she looked so beautiful that he had to say something, "You look very cool."
"Do I?" said Isabel. "I don't feel very cool. Come along, your horrid old train is late. The taxi's outside." She put her hand lightly on his arm as they passed the ticket collector. "We've all come to meet you," she said. "But we've left Bobby Kane at the sweet shop, to be called for."
"Oh!" said William. It was all he could say for the moment.
There in the glare waited the taxi, with Bill Hunt and Dennis Green sprawling on one side, their hats tilted over their faces, while on the other, Moira Morrison, in a bonnet like a huge strawberry, jumped up and down.
"No ice! No ice! No ice!" she shouted gaily.
And Dennis chimed in from under his hat. "Only to be had from the fishmonger's."
And Bill Hunt, emerging, added, "With whole fish in it."
"Oh, what a bore!" wailed Isabel. And she explained to William how they had been chasing round the town for ice while she waited for him. "Simply everything is running down the steep cliffs into the sea, beginning with the butter."
"We shall have to anoint ourselves with butter," said Dennis. "May thy head, William, lack not ointment."
"Look here," said William, "how are we going to sit? I'd better get up by the driver." [Page 159]
"No, Bobby Kane's by the driver," said Isabel. "You're to sit between Moira and me." The taxi started. "What have you got in those mysterious parcels?"
"De-cap-it-ated heads!" said Bill Hunt, shuddering beneath his hat.
"Oh, fruit!" Isabel sounded very pleased. "Wise William! A melon and a pineapple. How too nice!"
"No, wait a bit," said William, smiling. But he really was anxious. "I brought them down for the kiddies."
"Oh, my dear!" Isabel laughed, and slipped her hand through his arm. "They'd be rolling in agonies if they were to eat them. No"–she patted his hand–"you must bring them something next time. I refuse to part with my pineapple."
"Cruel Isabel! Do let me smell it!" said Moira. She flung her arms across William appealingly. "Oh!" The strawberry bonnet fell forward: she sounded quite faint.
"A Lady in Love with a Pineapple," said Dennis, as the taxi drew up before a little shop with a striped blind. Out came Bobby Kane, his arms full of little packets.
"I do hope they'll be good. I've chosen them because of the colours. There are some round things which really look too divine. And just look at this nougat," he cried ecstatically, "Just look at it! It's a perfect little ballet." [Page 160]
But at that moment the shopman appeared. "Oh, I forgot. They're none of them paid for," said Bobby, looking frightened. Isabel gave the shopman a note, and Bobby was radiant again. "Hallo, William! I'm sitting by the driver." And bareheaded, all in white, with his sleeves rolled up to the shoulders, he leapt into his place. "Avanti!" he cried. . . .
After tea the others went off to bathe, while William stayed and made his peace with the kiddies. But Johnny and Paddy were asleep, the rose-red glow had paled, bats were flying, and still the bathers had not returned. As William wandered downstairs, the maid crossed the hall carrying a lamp. He followed her into the sitting-room. It was a long room, coloured yellow. On the wall opposite William some one had painted a young man, over life-size, with very wobbly legs, offering a wide-eyed daisy to a young woman who had one very short arm and one very long, thin one. Over the chairs and sofa there hung strips of black material, covered with big splashes like broken eggs, and everywhere one looked there seemed to be an ash-tray full of cigarette ends. William sat down in one of the arm-chairs. Nowadays, when one felt with one hand down the sides, it wasn't to come upon a sheep with three legs or a cow that had lost one horn, or a very fat dove out of the Noah's Ark. One fished up yet another little paper-covered book of smudged-looking poems. . . . He thought of the wad of [Page 161] papers in his pocket, but he was too hungry and tired to read. The door was open; sounds came from the kitchen. The servants were talking as if they were alone in the house. Suddenly there came a loud screech of laughter and an equally loud "Sh!" They had remembered him. William got up and went through the French windows into the garden, and as he stood there in the shadow he heard the bathers coming up the sandy road; their voices rang through the quiet.
"I think its up to Moira to use her little arts and wiles."
A tragic moan from Moira.
"We ought to have a gramophone for the weekends that played 'The Maid of the Mountains.'"
"Oh no! Oh no!" cried Isabel's voice. "That's not fair to William. Be nice to him, my children! He's only staying until to-morrow evening."
"Leave him to me," cried Bobby Kane. "I'm awfully good at looking after people."
The gate swung open and shut. William moved on the terrace; they had seen him. "Hallo, William!" And Bobby Kane, flapping his towel, began to leap and pirouette on the parched lawn. "Pity you didn't come, William. The water was divine. And we all went to a little pub afterwards and had sloe gin."
The others had reached the house. "I say, Isabel," called Bobby, "would you like me to wear my Nijinsky dress to-night?" [Page 162]
"No," said Isabel, "nobody's going to dress. We're all starving. William's starving, too. Come along, mes amis, let's begin with sardines."
"I've found the sardines," said Moira, and she ran into the hall, holding a box high in the air.
"A Lady with a Box of Sardines," said Dennis gravely.
"Well, William, and how's London?" asked Bill Hunt, drawing the cork out of a bottle of whisky.
"Oh, London's not much changed," answered William.
"Good old London," said Bobby, very hearty, spearing a sardine.
But a moment later William was forgotten. Moira Morrison began wondering what colour one's legs really were under water.
"Mine are the palest, palest mushroom colour."
Bill and Dennis ate enormously. And Isabel filled glasses, and changed plates, and found matches, smiling blissfully. At one moment, she said, "I do wish, Bill, you'd paint it."
"Paint what?" said Bill loudly, stuffing his mouth with bread.
"Us," said Isabel, "round the table. It would be so fascinating in twenty years' time."
Bill screwed up his eyes and chewed. "Light's wrong," he said rudely, "far too much yellow"; and went on eating. And that seemed to charm Isabel, too.
But after supper they were all so tired they could [Page 163] do nothing but yawn until it was late enough to go to bed. . . .
It was not until William was waiting for his taxi the next afternoon that he found himself alone with Isabel. When he brought his suit-case down into the hall, Isabel left the others and went over to him. She stooped down and picked up the suit-case. "What a weight!" she said, and she gave a little awkward laugh. "Let me carry it! To the gate."
"No, why should you?" said William. "Of course, not. Give it to me."
"Oh, please, do let me," said Isabel. "I want to, really." They walked together silently. William felt there was nothing to say now.
"There," said Isabel triumphantly, setting the suit-case down, and she looked anxiously along the sandy road. "I hardly seem to have seen you this time," she said breathlessly. "It's so short, isn't it? I feel you've only just come. Next time–" The taxi came into sight. "I hope they look after you properly in London. I'm so sorry the babies have been out all day, but Miss Neil had arranged it. They'll hate missing you. Poor William, going back to London." The taxi turned. "Goodbye!" She gave him a little hurried kiss; she was gone.
Fields, trees, hedges streamed by. They shook through the empty, blind-looking little town, ground up the steep pull to the station.
The train was in. William made straight for a first-class smoker, flung back into the corner, but [Page 164] this time he let the papers alone. He folded his arms against the dull, persistent gnawing, and began in his mind to write a letter to Isabel.
. . . . .
The post was late as usual. They sat outside the house in long chairs under coloured parasols. Only Bobby Kane lay on the turf at Isabel's feet. It was dull, stifling; the day drooped like a flag.
"Do you think there will be Mondays in Heaven?" asked Bobby childishly.
And Dennis murmured, "Heaven will be one long Monday."
But Isabel couldn't help wondering what had happened to the salmon they had for supper last night. She had meant to have fish mayonnaise for lunch and now . . .
Moira was asleep. Sleeping was her latest discovery. "It's so wonderful. One simply shuts one's eyes, that's all. It's so delicious."
When the old ruddy postman came beating along the sandy road on his tricycle one felt the handle-bars ought to have been oars.
Bill Hunt put down his book. "Letter," he said complacently, and they all waited. But, heartless postman–O malignant world! There was only one, a fat one for Isabel. Not even a paper.
"And mine's only from William," said Isabel mournfully.
"From William–already?" [Page 165]
"He's sending you back your marriage lines as a gentle reminder."
"Does everybody have marriage lines? I thought they were only for servants."
"Pages and pages! Look at her! A Lady reading a Letter," said Dennis.
My darling, precious Isabel. Pages and pages there were. As Isabel read on her feeling of astonishment changed to a stifled feeling. What on earth had induced William . . .? How extraordinary it was. . . . What could have made him . . .? She felt confused, more and more excited, even frightened. It was just like William. Was it? It was absurd, of course, it must be absurd, ridiculous. "Ha, ha, ha! Oh dear!" What was she to do? Isabel flung back in her chair and laughed till she couldn't stop laughing.
"Do, do tell us," said the others. "You must tell us."
"I'm longing to," gurgled Isabel. She sat up, gathered the letter, and waved it at them. "Gather round," she said. "Listen, it's too marvellous. A love-letter!"
"A love-letter! But how divine!" Darling, precious Isabel. But she had hardly begun before their laughter interrupted her.
"Go on, Isabel, it's perfect."
"It's the most marvellous find."
"Oh, do go on, Isabel!" [Page 166]
God forbid, my darling, that I should be a drag on your happiness.
"Oh! oh! oh!"
"Sh! sh! sh!"
And Isabel went on. When she reached the end they were hysterical: Bobby rolled on the turf and almost sobbed.
"You must let me have it just as it is, entire, for my new book," said Dennis firmly. "I shall give it a whole chapter."
"Oh, Isabel," moaned Moira, "that wonderful bit about holding you in his arms!"
"I always thought those letters in divorce cases were made up. But they pale before this."
"Let me hold it. Let me read it, mine own self," said Bobby Kane.
But, to their surprise, Isabel crushed the letter in her hand. She was laughing no longer. She glanced quickly at them all; she looked exhausted. "No, not just now. Not just now," she stammered.
And before they could recover she had run into the house, through the hall, up the stairs into her bedroom. Down she sat on the side of the bed. "How vile, odious, abominable, vulgar," muttered Isabel. She pressed her eyes with her knuckles and rocked to and fro. And again she saw them, but not four, more like forty, laughing, sneering, jeering, stretching out their hands while she read them William's letter. Oh, what a loathsome thing to have done. How could she have done it! God [Page 167] forbid, my darling, that I should be a drag on your happiness. William! Isabel pressed her face into the pillow. But she felt that even the grave bedroom knew her for what she was, shallow, tinkling, vain. . . .
Presently from the garden below there came voices.
"Isabel, we're all going for a bathe. Do come!"
"Come, thou wife of William!"
"Call her once before you go, call once yet!"
Isabel sat up. Now was the moment, now she must decide. Would she go with them, or stay here and write to William. Which, which should it be? "I must make up my mind." Oh, but how could there be any question? Of course she would stay here and write.
"Titania!" piped Moira.
"Isa-bel?"
No, it was too difficult. "I'll–I'll go with them, and write to William later. Some other time. Later. Not now. But I shall certainly write," thought Isabel hurriedly.
And, laughing, in the new way, she ran down the stairs.

امااااااااااااااااااااااا ااااااااااااااااااااااااا ااااااانه ردوا علي لو بدعوه الللللللللله يوفقكم دنيا واخره

BEAUTY .o.o

14-10-2007, 03:28 AM

السلام عليكم و رحمة الله وبركاته
اخواني و اخواتي اعضاء منتدانا الغالي
كل عام وانتم بخير
ترى انا داخله على الله ثم عليكم تساعدوني
حصل لي موقف
و بعدها
كرهت حظي
الزبده
انو الاستاذة حقتنا طلبت مننا نسوي ريبريزنت ايشن عن اي شي على قولتها
و و ادتنا ارقام و قالت رح اختار رقم اللي يطلع رقمها بعد العيد
ياكافي رح يكون عليها العرض
و ياسلاااااااااااااام
طلع رقمي المنحوس خمسة
الله لا يوريكوا اللي صار فيا
ماني عارفه عن ايش رح اسوي
او اختار موضوع
هي قالت قيمز او انترفيوز او اني ثنق لايك ذس

تكفون ساعدوني الله يجزاكم كل خير
تراني ضيفه عليكم
وانتم اهل الكرم
انتظركم
الله يسعــــــــــــــــــــــ ـــــــدكم
من العايدين
على
فكره

اللي يرد اديلوه عيديه حلوة مررررررررررررررررررررررره

هاه اش قلتوا

انتظر

BEAUTY .o.o

14-10-2007, 03:38 AM

و عليكم السلام و رحمة الله وبركاته

أختي همي رضى ربي
كل عام وانتي الى الله اقرب
الله يعينك ويحفظك

انصحك ببرنامج الوافي
الذهبي
تدخلي البراقرافز كامل ثم يترجموه ليكي
ترى هوا مررررررررررررره حلو
الله يوفقك
سلام

هنودي

14-10-2007, 08:55 AM

BEAUTY .o.o

عفوا إيش طبيعة الـ representation . .

يعتي إلقاء شفهي أو تقرير مكتوب وهل ممكن تستخدمين وسائل للشرح أو العرض

وأمر آخر . . المواضيع Games, interviews ؟!؟! أعطينا مثال أو اشرحي لنا أكثر

لعلنا نقدر نساعدك

BEAUTY .o.o

15-10-2007, 03:04 AM

مشكور هنودي على اهتمامك
الله يجزاك خير

ايوه هوا القاء شفهي يعني نلزق جنب السبوره ونتكلم
او على قولتها نسوي
قيمز او انترفيوز

انا سالت صديقاتي قالوا سوي عن العيد
بس مادخلت مزاجي
الفكره
تعبتكم معايا
اعذرووووووووووووووووووووو ووووووووووونـي

BEAUTY .o.o

16-10-2007, 02:22 AM

هاه

أشوف ماحد رد عليه
ليـــــــــــــــــــــــ ه
هذا وانا نخيتكم

هبله أنا الناس معيديــــــــــــــــــــ ـــــــــــــــــن
مثلي انا

لا عادي خذوا راحتكم

المهم
قبلبداية
الدراسه

بليز
دونت لتمي داااااااااااااااااااااااو ن

Try To Reach

19-10-2007, 12:08 PM

أشوف ماحد رد عليه ليـــــــــــــــــــــــ ه هذا وانا نخيتكم
:blush-anim-cl:

BEAUTY .o.o

اعتذر لكي على تأخري في الرد اختي

ولكن الأشغال كانت كثيرة علي ...

بالنسبة لموضوع تقديم البريزنتيشن

انتي قلتي عن Games or Interviews

طيب هذي في المرتبة الأولى تحتاج ( حلاوة روح )
والبيانات تأتي لاحقاً ولا اظن في مثل هذه الحالات البيانات مهمه بقدر مايكون اداء " المقدم " رائع وقابل لأحتواء الجميع !

بمعنى ان تكوني مرحة " فرفوشة " في القاعة تسألي هذه وتناوشي تلك وتضيفي جو مرح على القاعة اثناء تقديمك !!

هذا اولاً !!

ثانياً ( البيانات ) !!

بامكانك كما قلتي تقديم لعبة والألعاب كثيرة انظري هذه الصفحات في الأنقلش كلوب

Let's play ... Countries & letters (http://www.saudienglish.net/vb/showthread.php?t=24577)

Let's Play: Ask & Answer (http://www.saudienglish.net/vb/showthread.php?t=9740)

Words Game (http://www.saudienglish.net/vb/showthread.php?t=14761&highlight=Games)

والألعاب المماثلة كثيرة ولو بحثتي في المنتدى سواء بالعربي في الأستراحة او بالأنجليزي في الأنقلش كلوب لربما تجدين اكثر مما نقلت لكي

هذه بالنسبة للألعاب ام لتقديم الـ ( Interviews )

فالعهدة عليكي اختي

من الصعب ان نحدد عليكي اسئلة صامته ربما لا تفهمينها او قد تحرجك اكثر مما تفيدك !
لاحظي نستطيع مساعدتك بعناوين

فمثلاً :

ناقشي موضوع ( حيوي ) او موضوع ( تاريخي ) او موضوع ( واقعي )

حيوي : اقصد به ( موضوع يمس زميلاتك في الكلية او في المكان الذي انتن به )

تاريخي : واضح اعتقد اي حدث تاريخي تناقشوه مثلاُ ( محرقة اليهود خرافة ام حقيقة ) !!

واقعي : اعني به حدث " سياسي " مثل تفجيرات باكستان بالأمس التي اوقعت اكثر من 85 وثمانين قتيلاً !
او حدث " اقتصادي " مثل ارتفاع اسعار البضائع في السعودية ( الرز مثال )

وهكذا

اتمنى ان اكون اتيت في وقت مناسب

واعتذر مرة اخرى على التأخير

صادق ودي

كبرياء

20-10-2007, 07:50 PM

كيان*

20-10-2007, 09:39 PM

السلام عليكم ورحمة الله وبركاته

حياكم الله

أنا هذي أول سنة جامعية لي << يعني لسى ما أعرف شيء

تخصصي ترجمة ( انجليزي )

عندي مشكلة ..

دكتورنا عطانا قصة وطالبها مننا بكرا

اسمها :

The Road from Colonus

وهذا الرابط لملف الوورد اللي يبغى يطلع علها

7
7

http://www.saudienglish.net/vb/uploaded/39971_01192901342.doc

ويبغى مننا نستخرج الــ :

charcters

plot

theme

يبغاها بكرا

الله يخليكم أبغى أحد يحلها لي

ويشرح لي كيف حلها

أو على الأقل الآن أبغى بس حل وبعدين الشرح

لأن بكرا راح يحط عليها درجات الجهد

الله يخليكم انتظركم

وياليت يكون بدري علشان يكفي الوقت أقرأها وأستوعبها وأحاول ألاحظ التغييرات

ممكن أحد يساعدني ؟؟؟؟؟؟

أرجوووووووووووووووكم
وياليت بدري

•0سحآبة خِير0•

20-10-2007, 10:55 PM

وعليكم السلام ورحمة الله وبركاته

انا حاولت الخصها لك وكتبت لك الحبكة والشخصيات ولكن الفكرة تستطيعين اسنتاجها من التلخيص والتعليق
في هذا الرابط

http://www.saudienglish.net/vb/uploaded/29751_01192906028.doc

كبرياء

21-10-2007, 04:23 PM

كبرياء

21-10-2007, 04:26 PM

طلب ثاني وياليت تلبوا لي الطلبين

ابي موضوع عن الجار بالغه اللنجليزيه يكون متوسط الطووول واكوون لكم من الشاكرين

ياريت الي يقدر يساعدني مايبخل علي

reem-6-

22-10-2007, 02:50 PM

السلام عليكم لوسمحتوا الدكتوره اعطتنا قصة أسمها

ِamatherو ايضا the dead
لوسمحتو تحليلها
الشخصيات والتعليق والفكره ...مع الترجمه ان امكن

•0سحآبة خِير0•

22-10-2007, 07:23 PM

السلام عليكم ورحمة الله وبركاته

شكراً لك اخي الكريم على الموضوع الراقي

لو سمحتوا أبي

المسرحيات هذي ؛؛

the dear teparted *

mr .sampson *

Hewers of coal *

مع ترجمتها وشرحهاا إذا أمكن

وأكون لكم من الشاااااااااكرين

تحيــــــااتي

اكرر طلبي بليز ساعدووووووووووووووووووني

وعليكم السلام ورحمة الله وبركاتة
الله يخليك اختي كبرياء ياريت تكتبي اسماء المؤلفين
ونحن في الخدمة
دمت بخير

•0سحآبة خِير0•

22-10-2007, 07:27 PM

السلام عليكم لوسمحتوا الدكتوره اعطتنا قصة أسمها

ِamatherو ايضا the dead
لوسمحتو تحليلها
الشخصيات والتعليق والفكره ...مع الترجمه ان امكن

وعليكم السلام ورحمة الله وبركاتة

أختي ريم ياليت تكتبي اسماء المؤلفين

ونحن بالخدمة

دمت بخير

reem-6-

23-10-2007, 02:18 AM

جزاك الله خير على مساعدتي القصص هي

A Mother by James Joyce
The Dead by James Joyce
The Tale by Joseph Conrad

اتمنى الآقي لها ترجمه
مع تحليلها والمطلوب مني فيها

مونيا24

23-10-2007, 07:58 PM

ابي معلومات عن الشاعر ويليام ييت
وعن قصيدthe second comingة

sleepy eyes

23-10-2007, 08:08 PM

يتيمة

24-10-2007, 04:57 AM

الزهره الحمراء

25-10-2007, 02:04 PM

انا والله ما اعرف اتمنى حد يساعدكم غيررررررررررررررررررري

•0سحآبة خِير0•

28-10-2007, 02:29 AM

جزاك الله خير على مساعدتي القصص هي

A Mother by James Joyce
The Dead by James Joyce
The Tale by Joseph Conrad

اتمنى الآقي لها ترجمه
مع تحليلها والمطلوب مني فيها

هنا ستجدين قصتي جيمس جويس
A Mother
The Dead

http://www.saudienglish.net/vb/showthread.php?p=367255#post367255

الــدلوعة

28-10-2007, 04:02 PM

ابوعزيز

28-10-2007, 09:10 PM

وعليكم السلام ورحمة الله ،

كبرياء
إذا قصدك مسرحية THE DEAR DEPARTED
ان شاء الله راح يفيدك هالرابط
http://www.geocities.com/jim_hollingsworth/departed.htm

مونيا24
The Second Coming
http://en.wikipedia.org/wiki/The_Second_Coming_%28poem%29

ابوعزيز

28-10-2007, 10:26 PM

Sleepy eyes

بخصوص مسرحية Pygmalion ان شاء الله يفيدك هالرابط

http://www.saudienglish.net/vb/showthread.php?t=21599

Try To Reach

29-10-2007, 02:59 PM

http://www.saudienglish.net/vb/attachment.php?attachmentid=12386&stc=1&d=1192819627

ابو عزيز

thanx dear Abu 3ziz for your efforts i do appreciate every thing you do here

best wishes Bro

http://www.saudienglish.net/vb/attachment.php?attachmentid=12378&d=1192788119

reem-6-

30-10-2007, 05:02 PM

مشكووووووووووووووووووووره أختي غيمة حنان تعبتك معاي الله يجزاك خير

الــدلوعة

31-10-2007, 04:09 PM

يناااس بليز ردو علي
عندي امتحان السبت
اذا ماقدرتو تجيون طلبي قولو نو بروبليم

Try To Reach

01-11-2007, 10:32 PM

ابي معلومات عن الشاعر ويليام ييت
وعن قصيدthe second comingة

اختي مونيا

هل انتي متأكدة من اسم الشاعر ؟

لأني وجدت هذا :

William Butler

ولو تكتبين الأسم بالأنقلش يكون افضل !!

على العموم انظري هذه الصفحة اسفل !

http://en.wikipedia.org/wiki/The_Second_Coming_(poem)

Try To Reach

01-11-2007, 10:37 PM

السلا عليكم
مشكورين عل جهودكم الرائعه
انا مطلوب مني امثله لكاتب واسم كتابه فيه مركز على احد هالعناصر للقصه
يعني مثلا
ُE.M.Foresterاستخدم الـplot في احدى رواياته
وهاذي العناصر المطلوب عليها امثلة
Tone/ point of view/plot/ setting\dialog\characterization /symbol \theme
ominisicent\ the direct observer\first person narration\ third person intimate
معليش احس طلبي شوي ثقيل
بس لانو عندي Exam ^_^
بس على الاقل اسم الكاتب او اسم الكتاب
مو شرط اسم الاثنين
يعطيكم العافيه
ومشكورين مقدما

يعطيكم العافيه

لأ اختي !!

ان شاء الله مو ثقيل ولا شيء !!

تفضلي شوفي هذا الموضوع واعطيني رايك !

وربنا يوفقك
The Road from Colonus كل ما يتعلق بهذه القصة تجدونه هنا مع الأخت : غيمة حنان (http://www.saudienglish.net/vb/showthread.php?t=29006)

Try To Reach

01-11-2007, 10:39 PM

السلام عليكم..
انا الآن في صدد اعداد بحوث في الادب الانجليزي و احتاج مساعدة متخصص في الادب.. يعني استاذة في الادب الانجليزي (ياليت تحمل الماجستير او الدكتوراه) ولو استاذ مو مشكلة.. فاللي يعرف أحد ياليت ما يبخل علي ولو برساله بالخاص ... شاكره لكم جميعا تعاونكم والله يعطيكم العافيه

اختي لا اعتقد ان في المنتدى اساتذه متخصصين في الأدب

واتمنى لو كان يوجد

ولكن كل من هنا طلبة علم بما فيهم انا

اتمنى اختي ان تتيسر امورك

اجمل المنى

فتاة خير الأمم

02-11-2007, 02:44 AM

ابوعزيز

02-11-2007, 12:13 PM

This may help you

http://en.wikipedia.org/wiki/Oedipus_the_king

http://www.pathguy.com/oedipus.htm

http://www.novelguide.com/oedipustheking/themeanalysis.html

http://ablemedia.com/ctcweb/netshots/oedipus.htm

مايونيز

02-11-2007, 03:58 PM

السلاام عليكم تكفووووووووووووووون ابغى مساعدتكم عندي بحث وابغى تعاااريف هالكلماااااات لاهنتو ولا عندي اطلس علشان يساعدني ومشكوررررررررررررين

1deposit
2landlord
3fee
4rent
5flat
6block
7advertisements
8self-contained
9accommodation agency
10references

11condition
12spacious
13detached
14surveyor
15removals
16architect
17cramped
18terraced
19semi-detached
20estate-agent
21builder

ولكم مني جزيل الشكر

مشهوره

03-11-2007, 09:51 AM

السلام عليكم

فكره رائده من نوعها ,,

سبق وطلبت فلم عن روايه

heart of darkness

للكاتب

Joseph Conrad

لكن مو موجود ,, اللي ابيه الحين لو سمحتوا ..

الروايه بالعربي ,, عشان تساعدني شوي ..

ايضا تعريب مسرحية

Pygmalion

شكرا جزيلا

مرحبا اختي

انا عندي الرواياتان مترجمه

اذا حابه ارسلهم لك راسليني على الخاص

وان شاء الله ما اكون متاخره بالرد

نعناعه

03-11-2007, 05:49 PM

ممكن معلومات عن مسرحيه هاملت لشكسبير

الحبكه_ الشخصيات _ متى كتبت

وياليت تكون بالانقلش والعربي ضروري لانه عندي اختبار

فتاة خير الأمم

03-11-2007, 07:47 PM

جزاك الله خير أخي أبو عزيز
ولا حرمت الأجر باذن الله

moon--999

03-11-2007, 07:51 PM

تكفوووووووووووووووووووون بليييييييييييز داخلة على الله ثم عليكم ابغى مساااااااعدة
الله يوفقه ويدخلة الجنة اللي بيساعدني
بكرة علي اكتب برقراف ونفس الوقت امتحان فما عندي وقت اسوي الاثنين كذا ابغاكم تساعدوني:
الموضوع عن:
planning apicnicالسلام عليكم ورحمة الله وبركاته

تقريبا حوالي 10 سطور
بليييييييز انتظركم

ابوعزيز

03-11-2007, 09:54 PM

مايونيز

http://www.merriam-webster.com/

ان شاء الله يساعدك هذا الموقع

نعناعه

http://www.saudienglish.net/vb/showthread.php?t=25057

http://en.wikipedia.org/wiki/Hamlet

http://www.online-literature.com/shakespeare/hamlet/

moon--999

ان شاء الله يفيدك
http://www.chaineus.org/resources/events_planning/et_picnic.html

مايونيز

04-11-2007, 04:59 PM

لايسعني الا ان اقول لك اخي العزيز ابو عزيز شكرا وجعله الله في موازين حسناتك

طموحي فوق

04-11-2007, 07:15 PM

الله يسعدكم جميعا....
والله والله عندي اختبار الاسبوع الجاي في راية lord of the flies (سيد الذباب) وابغاها مترجمة كاملة دورت في النت والمكتبات وكل مكان والله حتى في جدة والرياض ما لقيت هذي الرواية بالعربي تكفوووووووووووووووووووون ساااااااااااااااااااااااا ااااعدوني

Try To Reach

05-11-2007, 04:06 PM

شكر الله سعيك اخي الرائع دائماً

ابو عزيز

دائم التألق ودائم التميز ...

لك صادق ودي ايها الكبير

dremy-girls

07-11-2007, 06:35 PM

السلاام عليكم

ممكن طاال عمررك ابي شرح مع الشااعرر للقصاائد التااليه.......

Gone Gone Again_____Edward Thomas
the fiddler of doony____W.B.YEATS
It,s wise _______stevie smith

moon--999

08-11-2007, 08:57 PM

السلام عليكم اخواني الاعزاء في المنتدى
الدكتورة طالبة منا ننقد مقال وانا صراحة مااعرف كيف فياليت اللي يعرف في موضوع النقد والتعليق على المقالات يفيدني يعني مااهم الخطوات للتعليق على ذالك
ولكم مني جزيل الشكر

RERE11

08-11-2007, 09:11 PM

السلآلآلآلآلآلآلآلآلآلآلآ لآلآم عليكم ورحمة الله وبركااته

انا عندي تعبير انجليزي لمادة الEssay
وبالتحديدcomparison or contrast Essay
وبصراحه ماني افاهمه ايش الخطوات او الاساسيات اللي اسويها وايش اكتب في الانترودكشن((المقدمه))

انا اعرف انه مقارنه بين شيئين بس مادري شيئن مختلفه او شيئن نفس الشي بس نظريتي له اللحين وزمان

و اللي عنده اي خلفيه لها النوع ياليت يزودني فيه
لان اذكر ان له شروط قبل لااعبر كيف اكتب نظريتي وايش اكتب بالمقدمه والنهايه.....الخ
بليييييييز سساعدوني واكون شاكره لكم
كل اللي ابيه فق
خطوات كتاابة هالتعبيروشروط البدايه والبوي والنهايه
دمتم بوود

طموحي فوق

09-11-2007, 11:29 AM

بسم الله الرحمن الرحيم
السلام عليكم ورحمة الله وبركاته
ابغى منكم رواية سيد الذباب lord of the flies بالعربي اذا ممكن تحميلها عن طريق المنتدى....
شكراً لكم

esamdawood

09-11-2007, 01:26 PM

مرحبا اختي

انا عندي الرواياتان مترجمه

اذا حابه ارسلهم لك راسليني على الخاص

وان شاء الله ما اكون متاخره بالرد

السلام عليكم انني بحاجه الي هذه الترجمه فلو تكرمتي ابعتي هذه الترجمه عندي وجزاك الله خيرا
اريد ترجمه ل heart of darkness
joseph conrad
god reward u:smile:

كبرياء

10-11-2007, 04:53 PM

:marsa93::marsa93::marsa93:

السلام عليكم ورحمة الله وبركاته

بلــــــــييييييييييييز ســــــاااااااااااااااعدو وووني ابي شرح للقصتين

the dinner party

للكاتبه

Mona garden

and

Old man at the Bridge

للكااتب

Ernest Hemingway

قبــــــــــــــــــــــل يوم الاربعااااااااء واكووووون ممنووووونه وشااااااااااااااااااااااا اكره لكم

تحيـــــــــــــــــاااات ي

moon--999

11-11-2007, 01:09 AM

السلام عليكم اعضاء منتدى سعودي اينقلش
انا ابغاكم تصححوا لي البرقراف هذا عاجلا لاني والله بسلمه بكرة

Advantages the Small Town

The life is in city different in the town . There are advantages in life of town
The air is fresh , a little or no smog . A few of cars move in the street and more of people walking are common sight. The street are much safe so a few of cars accident . Many small town have one school for all grades and hospital is small and there was a few of department. There was time to check out the neighborhoods older home, new home, there is great mix available. So if you are tired of the big city ,tired of the crime ,the smog and lifestyle. Consider moving to a small town , I am sure you fell rest.

moon--999

11-11-2007, 01:11 AM

وينكم انا انتظركم بلييييييييييييز

ابوعزيز

12-11-2007, 02:39 AM

طموحي فوق

الرواية كاملة ما لقيتها بس ان شاء الله تفيدك هالروابط

http://www.odabasham.net/show.php?sid=14300

http://www.mnaabr.com/vb/showthread.php?t=9793

dremy-girls

http://www.poets.org/poet.php/prmPID/719

http://www.online-literature.com/yeats/

http://en.wikipedia.org/wiki/Stevie_Smith#Poetry

راح تلاقين القصائد في صفحة كل شاعر .

esamdawood

ترجمة كاملة ما لقيت لكن ان شاء الله يفيدك الرابط

http://jsad.net/showthread.php?p=2483166

كبرياء

هنا تلقين بعض الأسئلة على شكل ألعاب
http://www.quia.com/jg/298787.html

وهنا عاليمين في رابط تحليل للقصة
http://redwoods.edu/instruct/jjohnston/English1B/reading/literature/oldmanatthebridge.htm

moon--999

آسف ما أقدر أخدمك أنا مو مختص

Try To Reach

ما سوينا الا الواجب ،

اسمحوا لي يا جماعة مسافر هالأسبوعين

dremy-girls

12-11-2007, 04:24 PM

مشكووووووور ومااقصررت...
والله يجعلها بمييزااان حسنااتك................

ثرية

13-11-2007, 08:16 AM

السلام عليكم ..

لو سمحتو يا أعضاء ابي قصة عن مرض .. يعني معاناة شخص مع مرض معين .. كيف أصابه المرض وايش سوا وكيف تغير نظام حياته ومن هالأشياء هاذي ... بس يكون بالإنجليزي ...

يعطيكم ألف عااااااااااافية

ثرية

13-11-2007, 08:18 AM

السلام عليكم ورحمة الله بركاته
معليش طلبي صعب شوي
مطلوب اني اسوي عرض عن المدارس في السعوديه بريطانيا أمريكا ....
واقارن بينهم ياليت مساعده صور مدارس من بلدان مختلفه (وكلام عنها ) بس بالنجليزي

تحياتي

ميميm

16-11-2007, 12:58 PM

السلام عليكم ربي يوفق الجميع أبغى شرح قصيدة
To Nature
it may indeed phantasy,when i
Essay to draw from all created things
Deep,heartfelt,inward joy that closely clings
And trace in leaves and flowers that round me lie
Lessons of love and earnest piety
So let it be :and if the wide world rings
In mock of this belief ,it brings
Nor fear ,nor grief ,nor vain perplexity
so will i build my altar in the field
And the blue sky my fretted dome shall be,
And the sweet fragrance that the wild flower yields
Shall be the incense i will yield to thee
thee only God and thou shalt not despise
Even me,the priest of this poor sacrifice.
الله يجزاكم الفردوس ساعدوني بقدر المستطاع من حيث الشرح والصور البيانيه وياليت مع الترررجمه وايضا ترجه القصيدة بشكل صحيح الله يوفقكم بسرررررررررعه

RERE11

16-11-2007, 04:27 PM

معليش طلبي صعب شوي
مطلوب اني اسوي عرض عن الاحلام dreeeeeeeeem

وعرضهاا بالبوربوينت
بس ماعرف لبوربوينت

فبليز احد يساعدني
وانا اجيب له الملخصات بس يظبطها للي على البوربوينت

RERE11

16-11-2007, 04:29 PM

اللي عنده استعداد يساعددني
يقوولي وانا ارسله اللي عندي الملخصات اللي المفروض يعرضها
وشكرا

moon--999

16-11-2007, 08:08 PM

[السلام عليكم ورحمة الله وبركاته اخواني في النتدى اللع يعافيكم ابغاكم تساعدوني في تصحيح البرقراف هذا وحذف الجمل اللي ماتتعلق بالموضوع.

بليييييييييييز انتظركم
we live in ordinary house on an ordinary street in an ordinary suburb,and i think it is terrific! Our house is now about thirty years old, but it looks newer. I used to live in apartment,first in florida,and then in New mexico. but i prefer living in our own home. My house is like hundereds of other house in the suburb, one story with an attached garage. there is nothing special about the house,and it wont win any prizes for architecture, but its perfect for our family.
The kitchen is big and has new appliances, including a washing mashing and dryer.
I hate the heat, but we have air conditioning in the living room and bedroom, so it is always. I don't know why some people I know don't like the suburbs
For the kids there's a nice yard where they can play. It's very safe, so my wife and i don’t have to worry. I am very thankful that we can afford this house and live our ordinary live in it[/SIZE]

moon--999

17-11-2007, 01:06 AM

im waitting

الــدلوعة

18-11-2007, 12:27 AM

السلام عليكم
مشكورين على جهودكم
ممكن لو سمحتو تطلعون لي عناصر القصه من قصة
The Tale.Joseph Coonrad
يعني البلوت والثيم والشخصيات ... الخ

الله يوفقكم ابيه بكره لان تبغاه الاثنين

حروف الهجاء

18-11-2007, 06:16 PM

السلام عليكم
محتاجه مساعدتك ضروري انا ضيفه جديده
ولا تردوني
عندي تحضير لمسرحية pygmaliom للفصل الثاني
وعناصر التحضير هي

dramatic technique
language of character
setting
comic situation
dialogue
تكفووووووووووووووووووون بسرعه لازم بكره ضروري

حروف الهجاء

18-11-2007, 06:22 PM

الامووورة

18-11-2007, 11:00 PM

السلام عليكم ورحمة الله
ابغى الكلمات الغريبه بهالقصيده "يعني كلمات مو موضعهن هنا بس الشاعر قصد شي ثاني"
عجزت اطلع منها شي واللي تساعدن لها اصدق الدعوات..بس ياليت بدري؟!
{هذي القصيدة

Essay to draw from all created things
Deep, heartfelt , inward joy that closely clings
And trace in leaves and flowers that round me lie
lessons of love and earnest piety
So let it be and if the wide world rang
In mock of this belief , it brings
Nor fear , nor grief , nor vain perplexity.
So will i build my altar in the fields,
And the blue sky my fretted dome shall be,
And the sweet fragrance that the wild flower yields
Shall be the incense i will yield to thee,
thee only God ! and thou shalt not despise
Even me , the priest poor sacrifice

ميميm

18-11-2007, 11:23 PM

الله يوفق اللي يرد علي دنيا واخره بشان القصيد بسرررررعه أرجوكم,غيمه حنان وباقي الأعضاء الله يوفقكم لاتطنشوني

مايونيز

20-11-2007, 10:26 PM

السلااااااااااااااااااااا ااااام عليكم ورحمة الله ........اخباركم انشاء الله بخيرررررررر

تكفوووووووووووووووووون عندي بكرى عرض ومالقيت تعريف لها الكلمه ودرت بالنت وما لقيت

ابغى مساعدتكم الله يجزاكم خيرررررررر

والكلمه هي
terraced

ميميm

22-11-2007, 08:18 PM

السلام عليكم أختي الأموره الله يوفقك أذا كان عندك شرح القصيده والصور البيانية اللي نزلتي أرسليهن علي وكذلك كل مايتعلق بالقصيده لأنا أخذينه قبل أسبوع تقريبا وماعندي أي شي يتعلق فيها,'وطلبي موجود بالصفحه الثالثه,,,,الله يجزاكي الجنه سااااااااااااااااعدين وووووووووووكذلك من عنده الحل الله يوفقكم دنيا وأخره ,,,,,,,,,,

الامووورة

23-11-2007, 04:23 PM

وعليكم السلام و الرحمة اختي ميمي..
انا و الله احد صديقاتي طالبتها و انا متخرجة من زمان بس دورتها بالمواقع الادبية الانجليزية ولا لقيت الا ترجمة للشاعر والقصيده نفسها.. لم اجد ايه شروح..

ربي يوفقكم ويفك معاناتكم بهالكليه ويسهل دروبكم..

Crazy Daffy

25-11-2007, 01:35 AM

salaam alaikum

hiiii every body

i hope that you can help me

to find the ANALYSIS of this poem

'' ode on solitude''

by Alexander Pope

i tried so hard but i didn't find any thing could help me

would u help me plz

&:- )

JOoOoD

29-11-2007, 03:56 PM

السلام عليكم ورحة الله وبركاته

لكل اعضاء ومشرفين سعودي انجلش
ممكن تساعدوووووني بموضوع Essay عن وسائل المواصلات في دولتي Transportation in my country
يكون بمقدمة عن وسائل المواصلات في دولتي ومزاياها والفرق بينها وبين المواصلات قديما وأنواعها ....

plaese heeeeeeeeeeelp me

اتمنى منكم تساعدووووووووووني

:97::97::97::97::97:

أبية ضروووووووري قبل السبت لان الأستاذة تبية يوم السبت

وانا هالاسبوع عندي إختبارااااااات وماعندي وقت .......

:36_14_3::36_14_3::36_14_3::36_14_3:

PINK BEAR

30-11-2007, 02:08 AM

هااااااااي هاذي أول مشاركة لي معكم
أنا طالبة لغة انجليزية ....أي مسرحية King Oedipus
مترجمة للعربي عشان أفهمها ......بليزززز

rooose

30-11-2007, 03:37 AM

السلام عليكم ورحمة الله وبركاته
بحثت واجتهدت ولكن ضاقت بي السبل فلجأت بعد الله إليكم
مسرحية oedipus the king
لسوقراط sophocles
وبدايتها حتى تتأكدون من المسرحية هي:
oedipus: my children, latest brood of ......... ect
أبحث عن :
theme
charactars
Analysis

وجزاكم الله عنا ألف خير على مجهوداتكم
وهذا الطلب ليس لي فقط بل سأطبعه لطالبات دفعتي كلهم فأحتسبوا الأجر

السلام عليكم..
إالى فتاة خير الامم
انا مثللك ادرس نفس المسرحية(شكلك معي بنتف الكلية)ههههه
واسحن شي لقيته عنها
موقع gradesaver
sparknote
واتمنى تستفيدي منهم

reem-6-

03-12-2007, 09:59 PM

ا السلام عليكم ...محتاجة مساعدتكم
اعطتنا الدكتورة اليوم قصة

The Dying Detective للمؤلف Arthur Conan Doyle

الله يوفقكم ابغى البلوت والثيم والشخصيات ......الخ

لاتتأخرون علي بليزززززززززززز

وجزاكم الله الخير كله

database

04-12-2007, 08:36 PM

salaam alaikum
how r u all

i want the Arabic translation of the novel(Joseph Andrews)by Henery Fielding
or anything can help me to study it
:124::124::124:
help me please
Best wishes
:36_4_12:

مناير الشوق

07-12-2007, 02:58 PM

ا السلام عليكم ..
كيف الحـال ؟؟ وش اخباركم

ابي منكم مسااااعده وخدمه مستحيل انساهـا لكم وفرجتوا لي هم وش كبرررهـ
الدكتور طالب منا نسوي تحليل الشخصيات والبلوت والفكره
طبعا عارفين وش يبون في الروايات
the king of kills father and mother
by oedpus

ا ابييييه قبل الاثنين اذا قدرتوا وماعليكم اي كلافه
ويعطيكم الف الف عاافيه

سي يا

moon--999

08-12-2007, 10:24 PM

السلام عليكم ورحمة الله وبركاته اخواني واخواتي في المنتدى اريد ان اسال في احد يعرف مسرحية فلبون للكاتب بن جونسون موجود لها ترجمة ولا لا والعناصر الاساسية للمسرحية . ولكم مني جزيل الشكر

Almajd girl

14-12-2007, 08:09 AM

السلام عليكم ورحمة الله وبركاته

أخواني أخواتي أرجوووكم عندي طلب بسيط على الي يقدر عليه

أبغى مواقع تدلني على بحوث أو عن أي شي عن الموضوع هذا functional Grammar ويندرج تحت الموضوع هذا cultural awareness

عندي بحث عن هذا الموضوع وماني لاقيه مواقع زينه أقدر أطلع منها الي أبيه

فأرجوووووووووووووووووووووكم أبغى فزعتكم

البحث لازم أسلمه بعد العيد وأنا إلى الآن ماسويت شي

أرجووووووووووووووووووكم أنتم أخر أمل لي

moon--999

18-12-2007, 04:43 AM

[

هاااااي هذا انشاء الله بيفيدك
طريقة فعالة للبحث عن بحوث جاهزة على الانترنت

--------------------------------------------------------------------------------

لأي شخص يعمل بحوث ويحتاج للمساعده ,, هذه طريقة لأيجاد البحوث في النت للأستفاده
............................

أولا : أفتح موقع google

ثانيا : ضع هذه العبارة في مكان البحث

filetype:doc inurl:ants life

سأخبركم بفائدة هالطريقه العجيبه...
اذا حبيتوا تبحثون عن أي موضوع بصيغة ال word ضعوا العبارة السابقه مع تغيير بسيط...
أنا كمثال لكم وضعت ants life ( حياة النمل )

ضعوا مكان هذه الجمله ants life,أي كلمه تريدونها
وفائدة هذه الطريقه هي الحصول منها على البحوث الجاهزه التي تكون بصيغة ال word

وشيء آخر:

تستطيعون الحصول على البحوث التي بصيغة ال pdf, اللي هو الملفات التي نستطيع قراءتها بواسطة برنامج الأكروبات ريدر... وهالملفات أغلبها تكون كتب أو بحوث

واذا اردتم البحث بواسطة هذه الصيغه ضعوا العبارة:

filetype:doc inurl:ants life

ولكن مكان doc ضعوا pds

ارجوا الدعاء لي بالتوفيق والنجاح في دراستي:36_16_16:

moon--999

18-12-2007, 04:57 AM

االسلام عليكم اخواني الاعزاء في المنتدى: انا محتاجة مساعدة واتمنى انكم تلبون طلبي لان ولا مرة ساعدتوني
انا محتاجة ترجمة قصة القطة السوداء البرقراف الاول والثاني واريدها ترجمة دقيقة انها تخص مادة الترجمة
انا في انتظاركم

FOR the most wild, yet most homely narrative which I am about to pen, I neither expect nor solicit belief. Mad indeed would I be to expect it, in a case where my very senses reject their own evidence. Yet, mad am I not - and very surely do I not dream. But to-morrow I die, and to-day I would unburthen my soul. My immediate purpose is to place before the world, plainly, succinctly, and without comment, a series of mere household events. In their consequences, these events have terrified - have tortured - have destroyed me. Yet I will not attempt to expound them. To me, they have presented little but Horror - to many they will seem less terrible than barroques. Hereafter, perhaps, some intellect may be found which will reduce my phantasm to the common-place - some intellect more calm, more logical, and far less excitable than my own, which will perceive, in the circumstances I detail with awe, nothing more than an ordinary succession of very natural causes and effects.

From my infancy I was noted for the docility and humanity of my disposition. My tenderness of heart was even so conspicuous as to make me the jest of my companions. I was especially fond of animals, and was indulged by my parents with a great variety of pets. With these I spent most of my time, and never was so happy as when feeding and caressing them. This peculiarity of character grew with my growth, and in my manhood, I derived from it one of my principal sources of pleasure. To those who have cherished an affection for a faithful and sagacious dog, I need hardly be at the trouble of explaining the nature or the intensity of the gratification thus derivable. There is something in the unselfish and self-sacrificing love of a brute, which goes directly to the heart of him who has had frequent occasion to test the paltry friendship and gossamer fidelity of mere Man.

moon--999

21-12-2007, 07:02 AM

بلييييييييييييييييييييييييييييز وينكم

RDFTGG

22-12-2007, 12:12 AM

تكفون الفزعه انا سنة اولى جامعه انجليزي واحس انيييي مو عارفه شي وخايفه ارسب وهو انجلييزي ادب مولغه وانا محتاسة لا ليللي ليل ولا نهاري نهار والله طلعت عيوني

RDFTGG

22-12-2007, 12:22 AM

:36_16_2::36_16_2::36_16_2::36_16_2::36_:sad::36_4 _12::1 (130)::124:16_2::36_16_2::36_16_2::36_16_2:ردددددد دددددددددو علييييييييي تكفون عطوني وجه

عواصف هادئة

23-12-2007, 01:59 AM

والله ودي اساعدك حالتي نفس حالتك
حايسة وضايعة بين الكتب
الله يوفق الجميع

RERE11

26-12-2007, 08:47 PM

السلام عليكم ورحمةالله وبركاته

تكفوووووون ابي مسااااااااااعدتكم

ابغاا تعبير عن الحج او الصلاه بالانقلششششش

تعبير بسييييييييط وسهل
حول 10 سطووور او 15 سطر
بلييييييز ساعدوني
والله يجزاكم خير

الـصـارم

29-12-2007, 02:13 PM

السلام عليكم ورحمة الله وبركاتة

طلب الدكتور مني نقد بااستخدام العناصر يعني مثال بتنقد قصة تستخدم عناصر القصة وبتنقد شعر تستخدم عناصر الشعر

واريد منكم المساعدة
ابي نقد للصفحة هذي
http://www.cs.berkeley.edu/~richie/poetry/html/poem114.html
وجزاكم الله خيرر ولكم مني جزيل الشكر والتقدير والاحترام

no promses

30-12-2007, 09:20 AM

سلام

انا كتبت موضوع وطلبت الفزعه بس ماحد عطاني وجه ابي احد يساعدني بكتابه موضوعين عندنا امتحان بعد بكرا وللحين ماجهزتهن

تكفون افزعوا لي لانه امتحان اعمال سنه وعليه 30 درجه ويارب اللي يساعدني ان الله يفتحه بوجهه وين مالقا وجهه ويرزقه كل خير

والموضوعين

(my hopes about future)

(
what would you like to be after graduation

حروف الهجاء

30-12-2007, 07:32 PM

السلام عليكم ورحمة الله وبركاته
لو سمحتوا الله يخليكم
ابغى قصائدانجليزيه مشروحه من العصر الفكتوري
الله يسعدكم ضروري ضروري بس 3 قصائد

حروف الهجاء

30-12-2007, 07:37 PM

السلام عليكم ورحمة الله وبركاته
نداء الى try to reach
لو سمحjا الله يخليك
ابغى قصائدانجليزيه مشروحه من العصر الفكتوري
الله يسعدك ضروري ضروري بس 3 قصائد
او اعطني الرابط اللي ممكن الاقي فيه القصائد وتكون مشروحه

حروف الهجاء

30-12-2007, 07:41 PM

try to reach
تكفى وتكفى تهز الرجال
انا ضيف جديد ولا تخيب ظنني فيك

حروف الهجاء

30-12-2007, 07:59 PM

try to reach
تكفى وتكفى تهز الرجال
انا ضيف جديد ولا تخيب ظنني فيك

دكتور الجرح

31-12-2007, 07:57 AM

السلام عليكم ورحمة الله وبركاته اخواني الكرام بغيت مساعدتكم جزاكم الله خير بغيت روايه passage to india لاني مو فاهمه القصه ياليت ترجمتها اوشرحها لي بشكل مبسط لان اختباري قرب وانا مو فاهمتها لان الترجمه اللي حصلتها مرررررررررررره طويله وماوصلتني لاي نتيجه غير ان وقتي ضااااااع ياليت اخواني احد فيكم يساعدني على فهم هذي الروايه بصوره بسيطه عشان اقدر اذاكرالمقرر معنا فيها يعني ابي خلاصه لسرد احداث القصه وشخصياتها اكون شاكره لكم بليززززززززز مساعدتكم

كول نايت

31-12-2007, 01:47 PM

دكتور الجرح ولا يهمك مال عمك انا لها كووووول نايت هههههههههههههههههههه

حلوه المبسم

01-01-2008, 07:45 PM

السلام عليكم ورحمه الله
ممكن طلب صغير والله يجزيه خير الي بيساعدني لانو امتحاناتي قربت والدكتور طالب منا شرح القصيده ومب عارفه وشسوي
وهاذي القصيده on first looking into chapman's homer by john keats
ا او هاذي القصيده virtue by george herbert
او وحده منهم ودي بكل حاجه شرح القصيده والافكار الاساسيه والنغمه وcritical analysis ,figure of speech ,
تكفوووووووووووووووووون ساعدوني لازم اسلمه السبت يعطيكم الف عافيه

حلوه المبسم

01-01-2008, 07:51 PM

حلوه المبسم

02-01-2008, 05:19 PM

بلييييييييييييييييييييييييز ابغى رد على موضوعي

منول؟؟؟

07-01-2008, 01:47 AM

سلااااام ......
اريد خدمه وهي انا في سنة ثاني واول مرة ادرس دراما ودكتورنا عطانا قصة الملك اوديب وطبعا سوينا تعليق عند مدرسة خصوصية على جميع مقاطع منهج الشهري ولما درستها تخربطت وكانت درجتى مو حلوة وخايفة من الرسوب في النهائى فاريد مساعدتكم بتعليق (comment )واحد على القصة كلها خاصة انها في النهائى كلها معنا بحيث يكون اسهل في الحفظ والدراسة فودى انه معى هذا الاسبوع لابدا فيه..
فياليت تساعدوني
انا بنتظاركم

هنودي

10-01-2008, 08:40 PM

منول ؟؟؟ هذا ملخص بسيط وقصير عن المسرحية اقرأيه وستفهمين القصة بإذن الله

Short Summary

When the play opens, the city of Thebes is wasting away under a plague that leaves its fields and women barren. Oedipus, the king of Thebes, has sent his brother-in-law, Creon, to ask the house of Apollo to ask the oracle how to put an end to the plague. Creon returns, bearing good news: once the killer of the previous king, Laius, is found, Thebes will be cured of the plague (Laius was Jocasta's husband before she married Oedipus). Hearing this, Oedipus swears he will find the murderer and banish him. He asks Creon some questions: where was Laius murdered? did anyone see the crime? how many men killed him? Creon answers: Laius was killed outside the city by a group of robbers, and the only witness was a shepherd who still lives nearby. Hearing this, Oedipus asks the people of Thebes if any of them know any information about the king's death. The Chorus (representing the people of Thebes) suggests that Oedipus consult Teiresias, the blind prophet. Oedipus tells them that he has already sent for Teiresias.

When Teiresias arrives, he seems reluctant to answer Oedipus's questions, warning him that he does not want to know the answers. Oedipus threatens him with death, and finally Teiresias tells him that Oedipus himself is the killer, and that his marriage is a sinful union. Oedipus takes this as an insult and jumps to the conclusion that Creon paid Teiresias to say these things. He also mocks Teiresias, telling him that he is no prophet; a prophet should have been able to answer the Sphinx's riddle, but Oedipus himself was the only one who could. Teiresias counters that although he has no sight, Oedipus is the one who is blind to the truth. He asks him whose son he is and reminds him of the curse on his parents' heads. He tells him that he will leave Thebes in shame. Furious, Oedipus dismisses him, and Teiresias goes, repeating, as he does, that Laius's killer is right here before him + a man who is his father's killer and his mother's husband, a man who came seeing but will leave in blindness.

Creon enters, asking the people around him if it is true that Oedipus slanderously accused him. The Chorus tries to mediate, but Oedipus appears and charges Creon with treason. The men fight until Jocasta, Oedipus's wife, arrives. They explain the nature of their argument to Jocasta, who begs Oedipus to believe Creon. The Chorus also begs Oedipus to be open-minded, and Oedipus unwillingly relents and allows Creon to go. Jocasta asks Oedipus why he is so upset and he tells her what Teiresias prophesied. Jocasta comforts him by telling him that there is no truth in oracles or prophets, and she has proof. Long ago an oracle told Laius that his own son would kill him, and as a result he and Jocasta gave their infant son to a shepherd to leave out on a hillside to die with a pin through its ankles. Yet Laius was killed by robbers, not by his own son, proof that the oracle was wrong. But something about her story troubles Oedipus; she said that Laius was killed at a place where three roads meet, and this reminds Oedipus of an incident from his past, when he killed a stranger at a place where three roads met. He asks her to describe Laius, and her description matches his memory. Yet Jocasta tells him that the only eyewitness to Laius's death swore that five robbers killed him. Oedipus summons this witness.

While they wait for the man to arrive, Jocasta asks Oedipus why he seems so troubled. Oedipus tells her the story of his past. Once when he was young, a man he met told him that he was not his father's son. He asked his parents about it, and they denied it. Still it troubled him, and he eventually went to an oracle to ask. The oracle told him that he would kill his father and marry his mother. This so frightened Oedipus that he left his hometown and never returned. On his journeys, he came across a haughty man at a crossroads and killed this man when he insulted him. Oedipus is afraid that the stranger he killed might have been Laius. If this is the case, Oedipus will be forever banished both from Thebes (the punishment he swore for the killer of Laius) and from Corinth, his hometown (because he is afraid of killing his father and marrying his mother if he returns). If this eyewitness will swear that robbers killed Laius, then Oedipus is free, and this is what he prays will happen. Oedipus and Jocasta enter the castle to wait for the witness.

Jocasta comes back out of the castle, on her way to the holy temples to pray for Oedipus. A messenger arrives from Corinth with the news that Oedipus's father Polybus is dead. Overjoyed, Jocasta sends for Oedipus, glad that she has even more proof in the uselessness of oracles. Oedipus rejoices, but then states that he is still afraid of the rest of the oracle's prophecy: that he will marry his mother. The messenger assures him that he need not fear approaching Corinth, since Meropé, his mother, is not really his mother, and for that matter, Polybus wasn't his father either. Stunned, Oedipus asks him how he knows this. The messenger replies that years ago a man gave a baby to him and he gave this baby to the king and queen of Corinth, and this baby was Oedipus himself. The debility of Oedipus's ankles is a testament to the truth of his tale, because the baby's feet had been pinned through the ankles. Oedipus asks the messenger who gave the baby to him, and he replies that it was one of Laius's servants. Oedipus sends his men out to find this man. The messenger suggests that Jocasta should be able to help identify the man. Suddenly figuring out the horrible truth, Jocasta begs Oedipus not to carry through with his investigations. Oedipus replies that he swore to unravel this mystery, and he will. Jocasta runs inside the castle, saying a final farewell to Oedipus.

Oedipus again swears that he will figure out this secret, no matter how vile the answer is. He assumes that Jocasta is ashamed at his seemingly low birth. The Chorus senses that something bad is going to happen. Oedipus's men lead in an old shepherd, who is afraid to answer Oedipus's questions. But finally he tells Oedipus the truth. He did in fact give the messenger a baby boy, and that baby boy was Laius's son, the very same son that Jocasta and Laius left on a hillside to die because of the oracle's prophecy.

Finally the truth is out, and Oedipus runs into the castle, roaring with anguish. He grabs a sword and searches for Jocasta with the intent to kill her. But when he enters her chambers he finds that she has hanged herself. He takes the gold brooches with which she had fastened her dress and gouges his eyes out. He enters the stage again, with blood streaming from his now blind eyes. He cries out that he, who has seen and done such vile things, shall never see again. He begs the Chorus to kill him. Creon enters, having heard the entire story, and begs Oedipus to come inside, where he will not be seen. Oedipus begs him to let him leave the city, and Creon tells him that he must consult Apollo first. Oedipus tells him that banishment was the punishment he declared for Laius's killer, and Creon agrees with him. Before he goes, though, Oedipus asks to see his daughters and begs Creon to take care of them. Then Oedipus is led away and Creon and the girls go back in the castle. The Chorus, alone, laments the sad story of Oedipus, the greatest of men, who fell so low.

تحياتي

هنودي

10-01-2008, 08:52 PM

حلوة المبسم تفضلي هذا الرابط إن شاء الله يفيدك

http://www.bookrags.com/studyguide-virtue/sum.html

تحياتي

هنودي

10-01-2008, 08:59 PM

دكتور الجرح هذا رابط لكل ما يتعلق بالرواية وأشياء أخرى مفيدة بالانجليزي طبعاً

http://www.gradesaver.com/classicnotes/titles/passageindia/

أنا اقترح عليك انك ما تقرأ الروايات المترجمة لأنها ما تساعد لغتك

تقبل تحياتي

منول؟؟؟

10-01-2008, 09:47 PM

السلام عليكم ورحمة الله وبركاته
مشكوووووووووورة اخت هنودي.
بارك الله فيك وجزاك الله كل خير

ابوعزيز

12-01-2008, 12:48 AM

حروف الهجاء

ولا قصور بـ تراي ان شاء الله تفيدك هالروابط

http://justus.anglican.org/resources/timeline/12victoria.html

http://andromeda.rutgers.edu/~jlynch/Lit/victoria.html

http://shs.westport.k12.ct.us/jwb/Women/Victorian/Poems.htm

كان ودي اساعد أكثر بس بالنسبة للي طالبين تعبير أو نقد أنا مو متخصص آسـف

واللي سنة أولى هونها وتهون اللي تخرجوا مو أحسن منكم بشيء انتم بس شدوا حيلكم ودائماً تكون البداية صعبة

سامحونا عالقصور

نعناعه

15-01-2008, 03:40 PM

السلام عليكم

انا عندي اختبار يااااااااااااااليت تساعدوني

الله يجزاكم الجنه ابغى شرح لقصيدتين اللي هم

The Wast Land" للشاعر Eliot

After the Funeral" للشاعر Dylan Thomas
---------
وابغى فقط ال images لقصيدة

"Miners" للشاعر Wilfred Owen

ابوعزيز

16-01-2008, 02:13 PM

نعناعه
The Wast Land
http://www.gradesaver.com/classicnotes/titles/wasteland/fullsumm.html
بنفس الصفحة في روابط ثانية تتعلق بنفس القصيدة

After the Funeral
http://www.cs.rice.edu/~ssiyer/minstrels/poems/335.html

Miners
http://www.1914-18.co.uk/owen/miners.htm

Try To Reach

23-01-2008, 09:59 PM

احسنت يا ابو عزيز

رحم الله والديك يا اخي

وما تقصر

مرقة كااافيااار

29-01-2008, 07:07 PM

الله يجزاكم بالخير ضروووووووووووووووووووووووري تكفووووووووووون

ابي بحث بالانقليزي عن اي شي له علاقه بالتدريس ضروري ضروري ضروري

مافي شروط بس بحث بالانقليزي عن اي موضوع تربوي او بالتدريس

ارجوكم رجاااااااء حااااااااااااااااااااااار

وربي بدعي للي يلبيلي هالطلب وكل من يساعدني

Abo Lama

31-01-2008, 03:15 PM

مرقة كااافيااار

تفضلي طلبك اختي على الرابط التالي

http://www.saudienglish.net/vb/showthread.php?p=411715#post411715

موفقه ان شاء الله

spoiled909yuong

05-02-2008, 10:00 PM

السلام عليكم أنل بصراحة عضو جديد ما سجلت إلا أمس وقريت موضوعك بصراحة عورني قلبي

أنا طالب في الجامعة تخصص أدب ,معي شهادة من جامعة Ubc في كندا .

أوكي ما أحب أطول عليك ولا أحب أتكلم عن نفسي اللي حبيت أوضحة إني هاوي اللغة الإنجليزية

عندي مواقع كثيرة للترجمة الحرفية بالذات. السؤال هنا هل أحد رد عليك أوخلصتي ولقيتي موقع يعني أنتهيتي؟

Try To Reach

08-02-2008, 09:34 PM

__Princess__

11-02-2008, 06:21 AM

الله يسعدكم ويرزق ويوفق من يساعدني

انا ادرس برا وطلبت مننا الدكتورة esaay عن how to do اني ثينق ماحددت يعني

بحثت ولقيت مقالات طويييييييييييييييييييييييييييييييييييييييييييييييي يلة ولاني عارفة اختصرها بحيث تؤدي الفكرة

طلبي منكم هو اختصارها لي : ولازم اسلمها بكرة الصبح يعني 11-2-2008 الساعة 9 الصبح يعني عندكم بالسعودية الساعة: 6 المغرب

لقيت مقالين اي واحد عادي مافي مشكلة

how art can be good

I grew up believing that taste is just a matter of personal preference. Each person has things they like, but no one's preferences are any better than anyone else's. There is no such thing as good taste.

Like a lot of things I grew up believing, this turns out to be false, and I'm going to try to explain why.

One problem with saying there's no such thing as good taste is that it also means there's no such thing as good art. If there were good art, then people who liked it would have better taste than people who didn't. So if you discard taste, you also have to discard the idea of art being good, and artists being good at making it.

It was pulling on that thread that unravelled my childhood faith in relativism. When you're trying to make things, taste becomes a practical matter. You have to decide what to do next. Would it make the painting better if I changed that part? If there's no such thing as better, it doesn't matter what you do. In fact, it doesn't matter if you paint at all. You could just go out and buy a ready-made blank canvas. If there's no such thing as good, that would be just as great an achievement as the ceiling of the Sistine Chapel. Less laborious, certainly, but if you can achieve the same level of performance with less effort, surely that's more impressive, not less.

Yet that doesn't seem quite right, does it?

Audience

I think the key to this puzzle is to remember that art has an audience. Art has a purpose, which is to interest its audience. Good art (like good anything) is art that achieves its purpose particularly well. The meaning of "interest" can vary. Some works of art are meant to shock, and others to please; some are meant to jump out at you, and others to sit quietly in the background. But all art has to work on an audience, and—here's the critical point—members of the audience share things in common.

For example, nearly all humans find human faces engaging. It seems to be wired into us. Babies can recognize faces practically from birth. In fact, faces seem to have co-evolved with our interest in them; the face is the body's billboard. So all other things being equal, a painting with faces in it will interest people more than one without. [1]

One reason it's easy to believe that taste is merely personal preference is that, if it isn't, how do you pick out the people with better taste? There are billions of people, each with their own opinion; on what grounds can you prefer one to another? [2]

But if audiences have a lot in common, you're not in a position of having to choose one out of a random set of individual biases, because the set isn't random. All humans find faces engaging—practically by definition: face recognition is in our DNA. And so having a notion of good art, in the sense of art that does its job well, doesn't require you to pick out a few individuals and label their opinions as correct. No matter who you pick, they'll find faces engaging.

Of course, space aliens probably wouldn't find human faces engaging. But there might be other things they shared in common with us. The most likely source of examples is math. I expect space aliens would agree with us most of the time about which of two proofs was better. Erdos thought so. He called a maximally elegant proof one out of God's book, and presumably God's book is universal. [3]

Once you start talking about audiences, you don't have to argue simply that there are or aren't standards of taste. Instead tastes are a series of concentric rings, like ripples in a pond. There are some things that will appeal to you and your friends, others that will appeal to most people your age, others that will appeal to most humans, and perhaps others that would appeal to most sentient beings (whatever that means).

The picture is slightly more complicated than that, because in the middle of the pond there are overlapping sets of ripples. For example, there might be things that appealed particularly to men, or to people from a certain culture.

If good art is art that interests its audience, then when you talk about art being good, you also have to say for what audience. So is it meaningless to talk about art simply being good or bad? No, because one audience is the set of all possible humans. I think that's the audience people are implicitly talking about when they say a work of art is good: they mean it would engage any human. [4]

And that is a meaningful test, because although, like any everyday concept, "human" is fuzzy around the edges, there are a lot of things practically all humans have in common. In addition to our interest in faces, there's something special about primary colors for nearly all of us, because it's an artifact of the way our eyes work. Most humans will also find images of 3D objects engaging, because that also seems to be built into our visual perception. [5] And beneath that there's edge-finding, which makes images with definite shapes more engaging than mere blur.

Humans have a lot more in common than this, of course. My goal is not to compile a complete list, just to show that there's some solid ground here. People's preferences aren't random. So an artist working on a painting and trying to decide whether to change some part of it doesn't have to think "Why bother? I might as well flip a coin." Instead he can ask "What would make the painting more interesting to people?" And the reason you can't equal Michelangelo by going out and buying a blank canvas is that the ceiling of the Sistine Chapel is more interesting to people.

A lot of philosophers have had a hard time believing it was possible for there to be objective standards for art. It seemed obvious that beauty, for example, was something that happened in the head of the observer, not something that was a property of objects. It was thus "subjective" rather than "objective." But in fact if you narrow the definition of beauty to something that works a certain way on humans, and you observe how much humans have in common, it turns out to be a property of objects after all. You don't have to choose between something being a property of the subject or the object if subjects all react similarly. Being good art is thus a property of objects as much as, say, being toxic to humans is: it's good art if it consistently affects humans in a certain way.

Error

So could we figure out what the best art is by taking a vote? After all, if appealing to humans is the test, we should be able to just ask them, right?

Well, not quite. For products of nature that might work. I'd be willing to eat the apple the world's population had voted most delicious, and I'd probably be willing to visit the beach they voted most beautiful, but having to look at the painting they voted the best would be a crapshoot.

Man-made stuff is different. For one thing, artists, unlike apple trees, often deliberately try to trick us. Some tricks are quite subtle. For example, any work of art sets expectations by its level of finish. You don't expect photographic accuracy in something that looks like a quick sketch. So one widely used trick, especially among illustrators, is to intentionally make a painting or drawing look like it was done faster than it was. The average person looks at it and thinks: how amazingly skillful. It's like saying something clever in a conversation as if you'd thought of it on the spur of the moment, when in fact you'd worked it out the day before.

Another much less subtle influence is brand. If you go to see the Mona Lisa, you'll probably be disappointed, because it's hidden behind a thick glass wall and surrounded by a frenzied crowd taking pictures of themselves in front of it. At best you can see it the way you see a friend across the room at a crowded party. The Louvre might as well replace it with copy; no one would be able to tell. And yet the Mona Lisa is a small, dark painting. If you found people who'd never seen an image of it and sent them to a museum in which it was hanging among other paintings with a tag labelling it as a portrait by an unknown fifteenth century artist, most would walk by without giving it a second look.

For the average person, brand dominates all other factors in the judgement of art. Seeing a painting they recognize from reproductions is so overwhelming that their response to it as a painting is drowned out.

And then of course there are the tricks people play on themselves. Most adults looking at art worry that if they don't like what they're supposed to, they'll be thought uncultured. This doesn't just affect what they claim to like; they actually make themselves like things they're supposed to.

That's why you can't just take a vote. Though appeal to people is a meaningful test, in practice you can't measure it, just as you can't find north using a compass with a magnet sitting next to it. There are sources of error so powerful that if you take a vote, all you're measuring is the error.

We can, however, approach our goal from another direction, by using ourselves as guinea pigs. You're human. If you want to know what the basic human reaction to a piece of art would be, you can at least approach that by getting rid of the sources of error in your own judgements.

For example, while anyone's reaction to a famous painting will be warped at first by its fame, there are ways to decrease its effects. One is to come back to the painting over and over. After a few days the fame wears off, and you can start to see it as a painting. Another is to stand close. A painting familiar from reproductions looks more familiar from ten feet away; close in you see details that get lost in reproductions, and which you're therefore seeing for the first time.

There are two main kinds of error that get in the way of seeing a work of art: biases you bring from your own circumstances, and tricks played by the artist. Tricks are straightforward to correct for. Merely being aware of them usually prevents them from working. For example, when I was ten I used to be very impressed by airbrushed lettering that looked like shiny metal. But once you study how it's done, you see that it's a pretty cheesy trick—one of the sort that relies on pushing a few visual buttons really hard to temporarily overwhelm the viewer. It's like trying to convince someone by shouting at them.

The way not to be vulnerable to tricks is to explicitly seek out and catalog them. When you notice a whiff of dishonesty coming from some kind of art, stop and figure out what's going on. When someone is obviously pandering to an audience that's easily fooled, whether it's someone making shiny stuff to impress ten year olds, or someone making conspicuously avant-garde stuff to impress would-be intellectuals, learn how they do it. Once you've seen enough examples of specific types of tricks, you start to become a connoisseur of trickery in general, just as professional magicians are.

What counts as a trick? Roughly, it's something done with contempt for the audience. For example, the guys designing Ferraris in the 1950s were probably designing cars that they themselves admired. Whereas I suspect over at General Motors the marketing people are telling the designers, "Most people who buy SUVs do it to seem manly, not to drive off-road. So don't worry about the suspension; just make that sucker as big and tough-looking as you can." [6]

I think with some effort you can make yourself nearly immune to tricks. It's harder to escape the influence of your own circumstances, but you can at least move in that direction. The way to do it is to travel widely, in both time and space. If you go and see all the different kinds of things people like in other cultures, and learn about all the different things people have liked in the past, you'll probably find it changes what you like. I doubt you could ever make yourself into a completely universal person, if only because you can only travel in one direction in time. But if you find a work of art that would appeal equally to your friends, to people in Nepal, and to the ancient Greeks, you're probably onto something.

My main point here is not how to have good taste, but that there can even be such a thing. And I think I've shown that. There is such a thing as good art. It's art that interests its human audience, and since humans have a lot in common, what interests them is not random. Since there's such a thing as good art, there's also such a thing as good taste, which is the ability to recognize it.

If we were talking about the taste of apples, I'd agree that taste is just personal preference. Some people like certain kinds of apples and others like other kinds, but how can you say that one is right and the other wrong? [7]

The thing is, art isn't apples. Art is man-made. It comes with a lot of cultural baggage, and in addition the people who make it often try to trick us. Most people's judgement of art is dominated by these extraneous factors; they're like someone trying to judge the taste of apples in a dish made of equal parts apples and jalapeno peppers. All they're tasting is the peppers. So it turns out you can pick out some people and say that they have better taste than others: they're the ones who actually taste art like apples.

Or to put it more prosaically, they're the people who (a) are hard to trick, and (b) don't just like whatever they grew up with. If you could find people who'd eliminated all such influences on their judgement, you'd probably still see variation in what they liked. But because humans have so much in common, you'd also find they agreed on a lot. They'd nearly all prefer the ceiling of the Sistine Chapel to a blank canvas.

Making It

I wrote this essay because I was tired of hearing "taste is subjective" and wanted to kill it once and for all. Anyone who makes things knows intuitively that's not true. When you're trying to make art, the temptation to be lazy is as great as in any other kind of work. Of course it matters to do a good job. And yet you can see how great a hold "taste is subjective" has even in the art world by how nervous it makes people to talk about art being good or bad. Those whose jobs require them to judge art, like curators, mostly resort to euphemisms like "significant" or "important" or (getting dangerously close) "realized." [8]

I don't have any illusions that being able to talk about art being good or bad will cause the people who talk about it to have anything more useful to say. Indeed, one of the reasons "taste is subjective" found such a receptive audience is that, historically, the things people have said about good taste have generally been such nonsense.

It's not for the people who talk about art that I want to free the idea of good art, but for those who make it. Right now, ambitious kids going to art school run smack into a brick wall. They arrive hoping one day to be as good as the famous artists they've seen in books, and the first thing they learn is that the concept of good has been retired. Instead everyone is just supposed to explore their own personal vision. [9]

When I was in art school, we were looking one day at a slide of some great fifteenth century painting, and one of the students asked "Why don't artists paint like that now?" The room suddenly got quiet. Though rarely asked out loud, this question lurks uncomfortably in the back of every art student's mind. It was as if someone had brought up the topic of lung cancer in a meeting within Philip Morris.

"Well," the professor replied, "we're interested in different questions now." He was a pretty nice guy, but at the time I couldn't help wishing I could send him back to fifteenth century Florence to explain in person to Leonardo & Co. how we had moved beyond their early, limited concept of art. Just imagine that conversation.

In fact, one of the reasons artists in fifteenth century Florence made such great things was that they believed you could make great things. [10] They were intensely competitive and were always trying to outdo one another, like mathematicians or physicists today—maybe like anyone who has ever done anything really well.

The idea that you could make great things was not just a useful illusion. They were actually right. So the most important consequence of realizing there can be good art is that it frees artists to try to make it. To the ambitious kids arriving at art school this year hoping one day to make great things, I say: don't believe it when they tell you this is a naive and outdated ambition. There is such a thing as good art, and if you try to make it, there are people who will notice.

Notes

[1] This is not to say, of course, that good paintings must have faces in them, just that everyone's visual piano has that key on it. There are situations in which you want to avoid faces, precisely because they attract so much attention. But you can see how universally faces work by their prevalence in advertising.

[2] The other reason it's easy to believe is that it makes people feel good. To a kid, this idea is crack. In every other respect they're constantly being told that they have a lot to learn. But in this they're perfect. Their opinion carries the same weight as any adult's. You should probably question anything you believed as a kid that you'd want to believe this much.

[3] It's conceivable that the elegance of proofs is quantifiable, in the sense that there may be some formal measure that turns out to coincide with mathematicians' judgements. Perhaps it would be worth trying to make a formal language for proofs in which those considered more elegant consistently came out shorter (perhaps after being macroexpanded or compiled).

[4] Maybe it would be possible to make art that would appeal to space aliens, but I'm not going to get into that because (a) it's too hard to answer, and (b) I'm satisfied if I can establish that good art is a meaningful idea for human audiences.

[5] If early abstract paintings seem more interesting than later ones, it may be because the first abstract painters were trained to paint from life, and their hands thus tended to make the kind of gestures you use in representing physical things. In effect they were saying "scaramara" instead of "uebfgbsb."

[6] It's a bit more complicated, because sometimes artists unconsciously use tricks by imitating art that does.

[7] I phrased this in terms of the taste of apples because if people can see the apples, they can be fooled. When I was a kid most apples were a variety called Red Delicious that had been bred to look appealing in stores, but which didn't taste very good.

[8] To be fair, curators are in a difficult position. If they're dealing with recent art, they have to include things in shows that they think are bad. That's because the test for what gets included in shows is basically the market price, and for recent art that is largely determined by successful businessmen and their wives. So it's not always intellectual dishonesty that makes curators and dealers use neutral-sounding language.

[9] What happens in practice is that everyone gets really good at talking about art. As the art itself gets more random, the effort that would have gone into the work goes instead into the intellectual sounding theory behind it. "My work represents an exploration of gender and sexuality in an urban context," etc. Different people win at that game.

[10] There were several other reasons, including that Florence was then the richest and most sophisticated city in the world, and that they lived in a time before photography had (a) killed portraiture as a source of income and (b) made brand the dominant factor in the sale of art.

Incidentally, I'm not saying that good art = fifteenth century European art. I'm not saying we should make what they made, but that we should work like they worked. There are fields now in which many people work with the same energy and honesty that fifteenth century artists did, but art is not one of them.

Thanks to Trevor Blackwell, Jessica Livingston, and Robert Morris for reading drafts of this, and to Paul Watson for permission to use the image at the top.

__Princess__

11-02-2008, 06:25 AM

والثاني :

how to do what you love

To do something well you have to like it. That idea is not exactly novel. We've got it down to four words: "Do what you love." But it's not enough just to tell people that. Doing what you love is complicated.

The very idea is foreign to what most of us learn as kids. When I was a kid, it seemed as if work and fun were opposites by definition. Life had two states: some of the time adults were making you do things, and that was called work; the rest of the time you could do what you wanted, and that was called playing. Occasionally the things adults made you do were fun, just as, occasionally, playing wasn't—for example, if you fell and hurt yourself. But except for these few anomalous cases, work was pretty much defined as not-fun.

And it did not seem to be an accident. School, it was implied, was tedious because it was preparation for grownup work.

The world then was divided into two groups, grownups and kids. Grownups, like some kind of cursed race, had to work. Kids didn't, but they did have to go to school, which was a dilute version of work meant to prepare us for the real thing. Much as we disliked school, the grownups all agreed that grownup work was worse, and that we had it easy.

Teachers in particular all seemed to believe implicitly that work was not fun. Which is not surprising: work wasn't fun for most of them. Why did we have to memorize state capitals instead of playing dodgeball? For the same reason they had to watch over a bunch of kids instead of lying on a beach. You couldn't just do what you wanted.

I'm not saying we should let little kids do whatever they want. They may have to be made to work on certain things. But if we make kids work on dull stuff, it might be wise to tell them that tediousness is not the defining quality of work, and indeed that the reason they have to work on dull stuff now is so they can work on more interesting stuff later. [1]

Once, when I was about 9 or 10, my father told me I could be whatever I wanted when I grew up, so long as I enjoyed it. I remember that precisely because it seemed so anomalous. It was like being told to use dry water. Whatever I thought he meant, I didn't think he meant work could literally be fun—fun like playing. It took me years to grasp that.

Jobs

By high school, the prospect of an actual job was on the horizon. Adults would sometimes come to speak to us about their work, or we would go to see them at work. It was always understood that they enjoyed what they did. In retrospect I think one may have: the private jet pilot. But I don't think the bank manager really did.

The main reason they all acted as if they enjoyed their work was presumably the upper-middle class convention that you're supposed to. It would not merely be bad for your career to say that you despised your job, but a social faux-pas.

Why is it conventional to pretend to like what you do? The first sentence of this essay explains that. If you have to like something to do it well, then the most successful people will all like what they do. That's where the upper-middle class tradition comes from. Just as houses all over America are full of chairs that are, without the owners even knowing it, nth-degree imitations of chairs designed 250 years ago for French kings, conventional attitudes about work are, without the owners even knowing it, nth-degree imitations of the attitudes of people who've done great things.

What a recipe for alienation. By the time they reach an age to think about what they'd like to do, most kids have been thoroughly misled about the idea of loving one's work. School has trained them to regard work as an unpleasant duty. Having a job is said to be even more onerous than schoolwork. And yet all the adults claim to like what they do. You can't blame kids for thinking "I am not like these people; I am not suited to this world."

Actually they've been told three lies: the stuff they've been taught to regard as work in school is not real work; grownup work is not (necessarily) worse than schoolwork; and many of the adults around them are lying when they say they like what they do.

The most dangerous liars can be the kids' own parents. If you take a boring job to give your family a high standard of living, as so many people do, you risk infecting your kids with the idea that work is boring. [2] Maybe it would be better for kids in this one case if parents were not so unselfish. A parent who set an example of loving their work might help their kids more than an expensive house. [3]

It was not till I was in college that the idea of work finally broke free from the idea of making a living. Then the important question became not how to make money, but what to work on. Ideally these coincided, but some spectacular boundary cases (like Einstein in the patent office) proved they weren't identical.

The definition of work was now to make some original contribution to the world, and in the process not to starve. But after the habit of so many years my idea of work still included a large component of pain. Work still seemed to require discipline, because only hard problems yielded grand results, and hard problems couldn't literally be fun. Surely one had to force oneself to work on them.

If you think something's supposed to hurt, you're less likely to notice if you're doing it wrong. That about sums up my experience of graduate school.

Bounds

How much are you supposed to like what you do? Unless you know that, you don't know when to stop searching. And if, like most people, you underestimate it, you'll tend to stop searching too early. You'll end up doing something chosen for you by your parents, or the desire to make money, or prestige—or sheer inertia.

Here's an upper bound: Do what you love doesn't mean, do what you would like to do most this second. Even Einstein probably had moments when he wanted to have a cup of coffee, but told himself he ought to finish what he was working on first.

It used to perplex me when I read about people who liked what they did so much that there was nothing they'd rather do. There didn't seem to be any sort of work I liked that much. If I had a choice of (a) spending the next hour working on something or (b) be teleported to Rome and spend the next hour wandering about, was there any sort of work I'd prefer? Honestly, no.

But the fact is, almost anyone would rather, at any given moment, float about in the Carribbean, or have sex, or eat some delicious food, than work on hard problems. The rule about doing what you love assumes a certain length of time. It doesn't mean, do what will make you happiest this second, but what will make you happiest over some longer period, like a week or a month.

Unproductive pleasures pall eventually. After a while you get tired of lying on the beach. If you want to stay happy, you have to do something.

As a lower bound, you have to like your work more than any unproductive pleasure. You have to like what you do enough that the concept of "spare time" seems mistaken. Which is not to say you have to spend all your time working. You can only work so much before you get tired and start to screw up. Then you want to do something else—even something mindless. But you don't regard this time as the prize and the time you spend working as the pain you endure to earn it.

I put the lower bound there for practical reasons. If your work is not your favorite thing to do, you'll have terrible problems with procrastination. You'll have to force yourself to work, and when you resort to that the results are distinctly inferior.

To be happy I think you have to be doing something you not only enjoy, but admire. You have to be able to say, at the end, wow, that's pretty cool. This doesn't mean you have to make something. If you learn how to hang glide, or to speak a foreign language fluently, that will be enough to make you say, for a while at least, wow, that's pretty cool. What there has to be is a test.

So one thing that falls just short of the standard, I think, is reading books. Except for some books in math and the hard sciences, there's no test of how well you've read a book, and that's why merely reading books doesn't quite feel like work. You have to do something with what you've read to feel productive.

I think the best test is one Gino Lee taught me: to try to do things that would make your friends say wow. But it probably wouldn't start to work properly till about age 22, because most people haven't had a big enough sample to pick friends from before then.

Sirens

What you should not do, I think, is worry about the opinion of anyone beyond your friends. You shouldn't worry about prestige. Prestige is the opinion of the rest of the world. When you can ask the opinions of people whose judgement you respect, what does it add to consider the opinions of people you don't even know? [4]

This is easy advice to give. It's hard to follow, especially when you're young. [5] Prestige is like a powerful magnet that warps even your beliefs about what you enjoy. It causes you to work not on what you like, but what you'd like to like.

That's what leads people to try to write novels, for example. They like reading novels. They notice that people who write them win Nobel prizes. What could be more wonderful, they think, than to be a novelist? But liking the idea of being a novelist is not enough; you have to like the actual work of novel-writing if you're going to be good at it; you have to like making up elaborate lies.

Prestige is just fossilized inspiration. If you do anything well enough, you'll make it prestigious. Plenty of things we now consider prestigious were anything but at first. Jazz comes to mind—though almost any established art form would do. So just do what you like, and let prestige take care of itself.

Prestige is especially dangerous to the ambitious. If you want to make ambitious people waste their time on errands, the way to do it is to bait the hook with prestige. That's the recipe for getting people to give talks, write forewords, serve on committees, be department heads, and so on. It might be a good rule simply to avoid any prestigious task. If it didn't suck, they wouldn't have had to make it prestigious.

Similarly, if you admire two kinds of work equally, but one is more prestigious, you should probably choose the other. Your opinions about what's admirable are always going to be slightly influenced by prestige, so if the two seem equal to you, you probably have more genuine admiration for the less prestigious one.

The other big force leading people astray is money. Money by itself is not that dangerous. When something pays well but is regarded with contempt, like telemarketing, or prostitution, or personal injury litigation, ambitious people aren't tempted by it. That kind of work ends up being done by people who are "just trying to make a living." (Tip: avoid any field whose practitioners say this.) The danger is when money is combined with prestige, as in, say, corporate law, or medicine. A comparatively safe and prosperous career with some automatic baseline prestige is dangerously tempting to someone young, who hasn't thought much about what they really like.

The test of whether people love what they do is whether they'd do it even if they weren't paid for it—even if they had to work at another job to make a living. How many corporate lawyers would do their current work if they had to do it for free, in their spare time, and take day jobs as waiters to support themselves?

This test is especially helpful in deciding between different kinds of academic work, because fields vary greatly in this respect. Most good mathematicians would work on math even if there were no jobs as math professors, whereas in the departments at the other end of the spectrum, the availability of teaching jobs is the driver: people would rather be English professors than work in ad agencies, and publishing papers is the way you compete for such jobs. Math would happen without math departments, but it is the existence of English majors, and therefore jobs teaching them, that calls into being all those thousands of dreary papers about gender and identity in the novels of Conrad. No one does that kind of thing for fun.

The advice of parents will tend to err on the side of money. It seems safe to say there are more undergrads who want to be novelists and whose parents want them to be doctors than who want to be doctors and whose parents want them to be novelists. The kids think their parents are "materialistic." Not necessarily. All parents tend to be more conservative for their kids than they would for themselves, simply because, as parents, they share risks more than rewards. If your eight year old son decides to climb a tall tree, or your teenage daughter decides to date the local bad boy, you won't get a share in the excitement, but if your son falls, or your daughter gets pregnant, you'll have to deal with the consequences.

Discipline

With such powerful forces leading us astray, it's not surprising we find it so hard to discover what we like to work on. Most people are doomed in childhood by accepting the axiom that work = pain. Those who escape this are nearly all lured onto the rocks by prestige or money. How many even discover something they love to work on? A few hundred thousand, perhaps, out of billions.

It's hard to find work you love; it must be, if so few do. So don't underestimate this task. And don't feel bad if you haven't succeeded yet. In fact, if you admit to yourself that you're discontented, you're a step ahead of most people, who are still in denial. If you're surrounded by colleagues who claim to enjoy work that you find contemptible, odds are they're lying to themselves. Not necessarily, but probably.

Although doing great work takes less discipline than people think—because the way to do great work is to find something you like so much that you don't have to force yourself to do it—finding work you love does usually require discipline. Some people are lucky enough to know what they want to do when they're 12, and just glide along as if they were on railroad tracks. But this seems the exception. More often people who do great things have careers with the trajectory of a ping-pong ball. They go to school to study A, drop out and get a job doing B, and then become famous for C after taking it up on the side.

Sometimes jumping from one sort of work to another is a sign of energy, and sometimes it's a sign of laziness. Are you dropping out, or boldly carving a new path? You often can't tell yourself. Plenty of people who will later do great things seem to be disappointments early on, when they're trying to find their niche.

Is there some test you can use to keep yourself honest? One is to try to do a good job at whatever you're doing, even if you don't like it. Then at least you'll know you're not using dissatisfaction as an excuse for being lazy. Perhaps more importantly, you'll get into the habit of doing things well.

Another test you can use is: always produce. For example, if you have a day job you don't take seriously because you plan to be a novelist, are you producing? Are you writing pages of fiction, however bad? As long as you're producing, you'll know you're not merely using the hazy vision of the grand novel you plan to write one day as an opiate. The view of it will be obstructed by the all too palpably flawed one you're actually writing.

"Always produce" is also a heuristic for finding the work you love. If you subject yourself to that constraint, it will automatically push you away from things you think you're supposed to work on, toward things you actually like. "Always produce" will discover your life's work the way water, with the aid of gravity, finds the hole in your roof.

Of course, figuring out what you like to work on doesn't mean you get to work on it. That's a separate question. And if you're ambitious you have to keep them separate: you have to make a conscious effort to keep your ideas about what you want from being contaminated by what seems possible. [6]

It's painful to keep them apart, because it's painful to observe the gap between them. So most people pre-emptively lower their expectations. For example, if you asked random people on the street if they'd like to be able to draw like Leonardo, you'd find most would say something like "Oh, I can't draw." This is more a statement of intention than fact; it means, I'm not going to try. Because the fact is, if you took a random person off the street and somehow got them to work as hard as they possibly could at drawing for the next twenty years, they'd get surprisingly far. But it would require a great moral effort; it would mean staring failure in the eye every day for years. And so to protect themselves people say "I can't."

Another related line you often hear is that not everyone can do work they love—that someone has to do the unpleasant jobs. Really? How do you make them? In the US the only mechanism for forcing people to do unpleasant jobs is the draft, and that hasn't been invoked for over 30 years. All we can do is encourage people to do unpleasant work, with money and prestige.

If there's something people still won't do, it seems as if society just has to make do without. That's what happened with domestic servants. For millennia that was the canonical example of a job "someone had to do." And yet in the mid twentieth century servants practically disappeared in rich countries, and the rich have just had to do without.

So while there may be some things someone has to do, there's a good chance anyone saying that about any particular job is mistaken. Most unpleasant jobs would either get automated or go undone if no one were willing to do them.

Two Routes

There's another sense of "not everyone can do work they love" that's all too true, however. One has to make a living, and it's hard to get paid for doing work you love. There are two routes to that destination:

The organic route: as you become more eminent, gradually to increase the parts of your job that you like at the expense of those you don't.

The two-job route: to work at things you don't like to get money to work on things you do.
The organic route is more common. It happens naturally to anyone who does good work. A young architect has to take whatever work he can get, but if he does well he'll gradually be in a position to pick and choose among projects. The disadvantage of this route is that it's slow and uncertain. Even tenure is not real freedom.

The two-job route has several variants depending on how long you work for money at a time. At one extreme is the "day job," where you work regular hours at one job to make money, and work on what you love in your spare time. At the other extreme you work at something till you make enough not to have to work for money again.

The two-job route is less common than the organic route, because it requires a deliberate choice. It's also more dangerous. Life tends to get more expensive as you get older, so it's easy to get sucked into working longer than you expected at the money job. Worse still, anything you work on changes you. If you work too long on tedious stuff, it will rot your brain. And the best paying jobs are most dangerous, because they require your full attention.

The advantage of the two-job route is that it lets you jump over obstacles. The landscape of possible jobs isn't flat; there are walls of varying heights between different kinds of work. [7] The trick of maximizing the parts of your job that you like can get you from architecture to product design, but not, probably, to music. If you make money doing one thing and then work on another, you have more freedom of choice.

Which route should you take? That depends on how sure you are of what you want to do, how good you are at taking orders, how much risk you can stand, and the odds that anyone will pay (in your lifetime) for what you want to do. If you're sure of the general area you want to work in and it's something people are likely to pay you for, then you should probably take the organic route. But if you don't know what you want to work on, or don't like to take orders, you may want to take the two-job route, if you can stand the risk.

Don't decide too soon. Kids who know early what they want to do seem impressive, as if they got the answer to some math question before the other kids. They have an answer, certainly, but odds are it's wrong.

A friend of mine who is a quite successful doctor complains constantly about her job. When people applying to medical school ask her for advice, she wants to shake them and yell "Don't do it!" (But she never does.) How did she get into this fix? In high school she already wanted to be a doctor. And she is so ambitious and determined that she overcame every obstacle along the way—including, unfortunately, not liking it.

Now she has a life chosen for her by a high-school kid.

When you're young, you're given the impression that you'll get enough information to make each choice before you need to make it. But this is certainly not so with work. When you're deciding what to do, you have to operate on ridiculously incomplete information. Even in college you get little idea what various types of work are like. At best you may have a couple internships, but not all jobs offer internships, and those that do don't teach you much more about the work than being a batboy teaches you about playing baseball.

In the design of lives, as in the design of most other things, you get better results if you use flexible media. So unless you're fairly sure what you want to do, your best bet may be to choose a type of work that could turn into either an organic or two-job career. That was probably part of the reason I chose computers. You can be a professor, or make a lot of money, or morph it into any number of other kinds of work.

It's also wise, early on, to seek jobs that let you do many different things, so you can learn faster what various kinds of work are like. Conversely, the extreme version of the two-job route is dangerous because it teaches you so little about what you like. If you work hard at being a bond trader for ten years, thinking that you'll quit and write novels when you have enough money, what happens when you quit and then discover that you don't actually like writing novels?

Most people would say, I'd take that problem. Give me a million dollars and I'll figure out what to do. But it's harder than it looks. Constraints give your life shape. Remove them and most people have no idea what to do: look at what happens to those who win lotteries or inherit money. Much as everyone thinks they want financial security, the happiest people are not those who have it, but those who like what they do. So a plan that promises freedom at the expense of knowing what to do with it may not be as good as it seems.

Whichever route you take, expect a struggle. Finding work you love is very difficult. Most people fail. Even if you succeed, it's rare to be free to work on what you want till your thirties or forties. But if you have the destination in sight you'll be more likely to arrive at it. If you know you can love work, you're in the home stretch, and if you know what work you love, you're practically there.

Notes

[1] Currently we do the opposite: when we make kids do boring work, like arithmetic drills, instead of admitting frankly that it's boring, we try to disguise it with superficial decorations.

[2] One father told me about a related phenomenon: he found himself concealing from his family how much he liked his work. When he wanted to go to work on a saturday, he found it easier to say that it was because he "had to" for some reason, rather than admitting he preferred to work than stay home with them.

[3] Something similar happens with suburbs. Parents move to suburbs to raise their kids in a safe environment, but suburbs are so dull and artificial that by the time they're fifteen the kids are convinced the whole world is boring.

[4] I'm not saying friends should be the only audience for your work. The more people you can help, the better. But friends should be your compass.

[5] Donald Hall said young would-be poets were mistaken to be so obsessed with being published. But you can imagine what it would do for a 24 year old to get a poem published in The New Yorker. Now to people he meets at parties he's a real poet. Actually he's no better or worse than he was before, but to a clueless audience like that, the approval of an official authority makes all the difference. So it's a harder problem than Hall realizes. The reason the young care so much about prestige is that the people they want to impress are not very discerning.

[6] This is isomorphic to the principle that you should prevent your beliefs about how things are from being contaminated by how you wish they were. Most people let them mix pretty promiscuously. The continuing popularity of religion is the most visible index of that.

[7] A more accurate metaphor would be to say that the graph of jobs is not very well connected.

Thanks to Trevor Blackwell, Dan Friedman, Sarah Harlin, Jessica Livingston, Jackie McDonough, Robert Morris, Peter Norvig, David Sloo, and Aaron Swartz for reading drafts of this.

والله يسعدكم لاتنسووووووووووووني لازم اسلمها اليوم 11-2-2008 الساعة 9 الصباح عندنا بالسعودية تكون الساعة 6 المغرب

واحد بس منهم

Meant To be

11-02-2008, 02:30 PM

مرحبا فيك اختي الفاضلة

بخصوص المقالين اللي وضعتيهم مره طويلة وراح تاخذ وقت مني في اختصارها لكن بحثت لك عن مقالات طبعا وجدت مقالين واختصرتهم لك وان شاء الله تستفيدي منهم ولكي الاختيار طبعا راح اضعهم هنا وايضا تجدينهم في الملفات المرفقة
كلاهما يحمل نفس العنوان

1st essay

How to Prepare Yourself for a Job Interview

What is an interview?
 The interview is a two way street with both you and the interviewer taking an active role.
 It is also an exciting opportunity to take a positive step on your career path. Previous experience or education is not enough to convince an employer that you are the right person.
 The outcome of a job interview is entirely dependent on how well you sell yourself.
What's the purpose of an interview?
Remember, everything has a reason in life, including an interview. An interview is the employer's way of selecting the right applicant from a group of equally-qualified candidates. An interview is an elimination process, whereby the winner receives a job offer.
There are four main objectives of an interview.
1. The employer wants to know if you're a good fit for his/her company. The interviewer is interested in three things:
1. Can you do the job?
2. Will you do the job?
3. Will you fit in?
2. You want to sell yourself as the ideal candidate and you want to know if the company is suitable for you and your career goals.
3. An interview is your opportunity to tie your skills and experience directly and enthusiastically.
0. What are your strengths?
1. What are your weaknesses?
2. How are you suitable for this job?
3. How long do you plan to stay with the company?
4. What is your ideal position?
5. Why do you want to change jobs?
4. An interview is also your opportunity to assess the company:
0. Is this the kind of place where you want to work?
1. Can you contribute?
2. Will you acquire new skills?
3. Is there a possibility to advance?
4. Will this position open doors for you?
What to do Before an Interview
How do I prepare myself for an interview? Here are some things to do the day before an interview. Remember, first impressions usually last!
 Collect information about the company.
 Prepare what you plan to bring with you to the interview (including a list of references).
 Prepare what you're going to wear.
 Prepare for the interview questions, including topics about your:
• work experience
• academic history
• skills and abilities
• knowledge of the organization
• career goals and objectives
• accomplishments and achievements
• personal and motivational factors
• money and salary
 Prepare your interview responses.
 Rehearse your responses in front of a mirror, or role play with another person.
 Practice your introduction.
 Make sure you have the company's present address and the correct directions.
 Make your transportation arrangements ahead of time.
 BE PUNCTUAL! Get up early, giving yourself plenty time to get ready and arrive before the actual interview begins.
What to do During the Interview
Make Your Entrance
Before you say your first word, the interviewer will make a judgment about you. There are a few key things that they will be looking for, including: a genuine smile, a firm handshake, a confident demeanor, good eye contact, and a friendly, enthusiastic introduction. They'll notice instantly whether your hair is clean and neat, whether or not your attire is appropriate, whether or not your breath is fresh, and if your hands and fingernails are clean.
Getting Started
One good way to kick off an interview is:
 To give a brief summary of your understanding of the position.
 Ask for any additions or clarifications.
 Ask the interviewer to share the points in your resume or letter that triggered their interest. Then you will know their priorities, making it easier for you to target your responses precisely to the position.
Attitude Counts
This is the time to show off your interpersonal skills. Employers are looking for key character traits and you need to demonstrate them at the interview. Keep the following things in mind:
1.Listening Skills: good listening skills and a pleasant demeanor are key attributes in any job.

2. Enthusiasm.

3. Eye Contact.

4. Flexibility: You need to demonstrate to the interviewer that you are willing and able to adapt readily to new environments, demands, personas styles, . . . etc.

5. Professionalism: Above all, BE PROFESSIONAL! Respect the interviewer. Remember the interview boundaries at all times, don't behave in an either overly-casual fashion or overly-aggressive manner with the interviewer.

2nd essay

A job interview can be successful if you follow a number of smart strategies. Some of these strategies are to have a well written resume, an appealing personal appearance, and a prepared plan of action regarding questions for the interviewer.

First of all, the resume plays a very important role for a job interview. What the interviewer is going to think depends on how the resume is written. It is necessary to organize ideas that describe your work experience. Also, you need to mention your best qualities which are related with the job you are applying for. For example, if you are applying for a job in which you are going to be with a computer,and phone calls, it is relevant to say how fast you type on the computer and if you do speak more than one language. In addition, have in mind to use high level vocabulary words and proper grammar. Therefore, you may consider a friend’s or professor’s opinion in order to check your resume before showing it to a prospective employer.

Secondly, it is important to present yourself well. That means to have a nice appearance. Consequently, you need to be careful with the clothes you are going to wear, and the hairstyle you are going to use. Even little details such as having clean teeth and neat nails, can prevent you from an embarrassing situation. If you are a woman, try to avoid “mini-skirts” for a job interview, since that could cause a misunderstanding. Also, a person who seems to have dirty hair makes a poor impression. Hence, if you have free time go to a hair salon before going to the interview.

Finally, before you arrive at the job interview, it is good idea to have a couple of questions for the interviewer. For instance, you can ask if the job you are applying for does cover “sick days” and health insurance. Also, it is important to know if you are going to have vacation time and how often. It is also essential to ask how much you are going to earn, and how often are you going to be paid.

In conclusion, everyone who attends a job interview should be prepared with a well written resume, an appealing presentation, and have questions in mind. Following all these suggestions is going to make your job interviews much easier.

Try To Reach

18-02-2008, 04:45 AM

احسنت يبو خلود

كريم وما تقصر

جزاك الله خير

fulla86

18-02-2008, 06:19 PM

السلام عليكم ورحمه الله وبركاااته

اولا اود شكر كل من قام وساعد في استمرااار هذا العمل الرائع والمتميز

وثانيا اود ان اطلب معلومات او ترجمه او اي شي او مقال يمكنني من خلا ل قراءته ان افهم روايه

mice and men

ولكم منى جزيل الشكر والعرفان

يا ريت ما تتأخروو علي بالرد

الزهرة الخضراء

20-02-2008, 10:01 AM

وثانيا اود ان اطلب معلومات او ترجمه او اي شي او مقال يمكنني من خلا ل قراءته ان افهم روايه

mice and men

وضعت موضوع مستقل عن الرواية ليستفيد جميع من يطلبونها بإمكانك الاطلاع عليه من هذا الرابط ... http://www.saudienglish.net/vb/showthread.php?p=424234#post424234

fulla86

20-02-2008, 05:55 PM

يسلمووووو ايكي كتييير

والله يسعدك

ROAD ROSE

22-02-2008, 09:00 AM

السلام عليكم

ممكن احد يساعدني

باي شي عن هذه الروايه

Daniel Defoe’s Robinson Crusoe

Meant To be

22-02-2008, 05:11 PM

السلام عليكم

ممكن احد يساعدني

باي شي عن هذه الروايه

Daniel Defoe’s Robinson Crusoe

تفضلي اختي هذا الرابط اتمنى ان تستفيدي منه رغم اني لست متخصصا في اللغة الانجليزية ولكن ربما تجدي ضالتك

Daniel Defoe’s Robinson Crusoe
(http://www.bibliomania.com/0/0/17/31/frameset.html)

الزهرة الخضراء

22-02-2008, 05:20 PM

الله يوفقك لكل خير اخي Meant To be ... ضربت مثلاً للتعاون والحرص على نفع الاخرين ...
وللإضافة لما سبق ... قمت بوضع موضوع موضوع مستقل عن الرواية ليستفيد الجميع ... هنـــــــــــااا (http://www.saudienglish.net/vb/showthread.php?t=34517)

manal232

22-02-2008, 07:04 PM

ممكن تعطوني اسماء روايات او مسرحيات مترجمة اقدر احملها واستفيد منها
واكون لكم شاكرة

ROAD ROSE

25-02-2008, 10:11 AM

السلام عليكم

ابغى اشكر كل من يقف وراء هذا

العمل الرائع

وابغى اي شرح للشعر
sonnet 73

shakespear

Meant To be

25-02-2008, 02:37 PM

السلام عليكم

ابغى اشكر كل من يقف وراء هذا

العمل الرائع

وابغى اي شرح للشعر
sonnet 73

shakespear

الشكر لله اختي الفاضلة

وتفضلي هذا الرابط في المنتدى وهو موضوع لأختنا الراحلة " الغزالة " رحمها الله

sonnet 73 (http://www.saudienglish.net/vb/showthread.php?t=13071)

تتعلم E

26-02-2008, 12:37 AM

السلام عليكم

ح بايبي .. أنأ اليوم

راح أطلب منكم مساعده بسيطه جدا

عندي مادة المقال .. دكتورنا طلبتـ

كتابت مووضوع عن التلوثـ اما الهواء او الماء

فان كتبت شء بسيط .. وهي طلبت منا ان يتعدا اكثر

من اكثر من سطر.. السبلنق عندي خطا مو مكشله اقدر اصلحه

بس الافكار عندي ضيقه فما اقدر اجيب اكثر من 12 سطر
فياليت احد يتكرم ويساعدني .. في كتابت هذا التعبير

عن التلوثـ اما الماء او الهواء

كتبت ع اللوح .. هذي الكلمة انا مافهمتـ منها شيء

ماادري يستند عليها التعبير او ايش ..؟؟

3Rs=Recycle
Reuse
Reciuce

ياليت احد يفهمني اذا كان يستند عليها التعبير وكيف يكتب بعد كذا

او تكمله للشرح ...؟

الزهرة الخضراء

26-02-2008, 01:51 AM

Air Pollution

Air pollution is a worldwide problem. Because the air can be blew by wind. If the there are some toxic gas comes out, after a short while, the toxic gas will be spread everywhere. The same with the air pollution, the bad gas will spread by wind. The bad gas comes from the motorcycle, air conditioner and some factories. It is important to know what pollutants caused the air pollution and try to prevent. Air pollution not only brings some bad effect to earth, but also brings bad effect to human beings. In order to live healthily, finding the solution to the air pollution is the most important thing for us to do.

Pollutants can be divided into two kinds; one is the primary pollutants, the other is secondary pollutants. The primary pollutants are directly produced by a process. For example, the volcano eruption and the carbon monoxide exhaust gas from motorcycles and cars. The secondary pollutants are from in the air when primary pollutants react. There is an important example of the secondary pollutants that is ground level ozone. The ground level ozone is the secondary pollutants that make up photochemical smog.

Air pollution can be a killer of people. Some diseases that related to air pollutants are asthma, bronchitis, emphysema, lung and heart disease. The disease’s range that caused by air pollution is very wild, from subtle biochemical and physiological changes to difficulty breathing and cardiac conditions. We can know that there is a big connection between air pollution and human health.

In order to live healthily and happily, control air pollution is very important. There is not only air pollution but also water pollution. People nowadays are living in a place filled with pollution. How can we control air pollution efficiently, it depends on how much conscious that people have.
________
http://ccueng.blogspot.com/2007/06/essay.html

الزهرة الخضراء

26-02-2008, 02:03 AM

Water Pollution

The earth is facing a lot of environmental problems today; humans cause these problems. In the search for the technology, humans begin to improve their lives without giving attention to what this development has caused to the other types of life on the face of the earth. Everyone is so caught up in paying attention to the growing industries and the growth of the community that they don’t realize how the things that are good for us as humans can also be harmful to all forms of life on earth. All aspects of life on the earth have been affected, as well as the sources of water.

Water pollution is a global plague that affects the people, animals, and plants. These life forms need water to survive. Sea and river pollution is one of the problems that resulted from the new technology. Water is one of the most important sources of life on earth a lot of animals live in seas, rivers and lakes. In addition water in also important for humans, not just for drinking; seas are one of our main sources of food today, for example fish. Sea pollution has become one of the biggest problems facing our environment.

Across the world, about half of all sewage is dumped into water bodies in its original form. Water pollution is a senseless act that people can help stop. Often, governments either do not care or simply look the other way. The main effect of chemical water pollution is that it kills life that inhabits water-based ecosystems. In addition to sewage, chemicals dumped by industries and governments are another major source of water pollution. And another solution is to think of an alternative farming practice that allows the wastes to be eliminated safely without causing any health or environment problems. Some of these alternatives things such as regulations and accountability for the actions taken by the factories, more public awareness and participations in the community they live in, and new technology that can help eliminate this problem.

In some countries they polluted some of their big lakes because of the big factories that were built beside them in order to throw the waste of chemicals on these lakes, and the result was big loss of natural life. Water pollution is a problem that will not be eliminated unless the proper actions are taken by the government and the general population as well as the companies. The pollution of water greatly affects humans and animals alike. Thousands of animals suffer a slow, agonizing death.

Some chemicals cause a whole food chain to be changed. Ecosystems can be severely changed or destroyed by water pollution.
________
http://www.megaessays.com/viewpaper/96966.html

Eroka

26-02-2008, 11:17 PM

السلام عليكم

أبغى مساعدتكم بلييييييييييييييييييييييي يز

أبغى summary لــ مسرحية She stoops to conquer

By.... Georg Goldsmith

او اي روابط ممكن تفيدني

ولكم جزيل الشكر مقدما

الزهرة الخضراء

26-02-2008, 11:50 PM

في الرابط التالي تجدي ماتريدين ... كان بالإمكان البحث في القسم ... الله يوفقك ...
http://www.saudienglish.net/vb/showthread.php?p=262764#post262764

حلوه المبسم

27-02-2008, 02:21 PM

السلام عليكم اخباااااااااركم انشاالله بخير
بليييييز اقدر احصل على معلومات افكار اساسيه عن روايه DOCTOR faustus BY MARLOW
لله يجزيه الجنه الي يساعدني

الزهرة الخضراء

27-02-2008, 05:57 PM

السلام عليكم اخباااااااااركم انشاالله بخير
بليييييز اقدر احصل على معلومات افكار اساسيه عن روايه DOCTOR faustus BY MARLOW
لله يجزيه الجنه الي يساعدني

وضعت ماطلبتي في موضوع مستقل لعموم الفائدة ...
http://www.saudienglish.net/vb/showthread.php?t=34815

just a girl_21

27-02-2008, 09:55 PM

السلام عليكم ورحمه اللله وبركاته

اخواني الي يقدر يساعدني ياليت مايتردد
ابغى ترجمه مسرحيه The Importance of Being Earnest

gentel woman

28-02-2008, 02:00 AM

Helllllllllllllllow
please help me Iwant explaining for poem(The Sick Rose)

manal232

28-02-2008, 04:47 PM

ممكن معلومات عن مسرحية odepius the king

Eroka

28-02-2008, 09:08 PM

اختي الزهرة الخضراء

الف الف الف الف الف شكر على مجهودك

جعله الله في موازيين حسناتك

Eroka

29-02-2008, 04:45 PM

اختي
just a gir

دورت لك بس ما لقيت إلا summary

وراح انزله لك الحين

Eroka

29-02-2008, 04:46 PM

Act I, Part One
Nothing will induce me to part with with Bunbury, and if you ever get married, which seems to me extremely problematic, you will be very glad to know Bunbury. A man who marries without knowing Bunbury has a very tedious time of it.

Summary
The play opens in the morning room of Algernon Moncrieff’s flat in the fashionable Mayfair section of London’s West End. As the curtain rises, Algernon’s butler, Lane, is onstage laying out afternoon tea while Algernon, offstage, plays the piano badly. Before long, the music stops and Algernon enters talking about his playing, but Lane says ironically that he didn’t feel it was “polite” to listen. Algernon briefly defends his musicianship, then turns to the matter of Lane’s preparations for tea. Algernon asks particularly about some cucumber sandwiches he has ordered for Lady Bracknell, his aunt, who is expected for tea along with her daughter, Gwendolen Fairfax, Algernon’s cousin. Lane produces the cucumber sandwiches, which Algernon begins to munch absentmindedly, casually remarking on an extremely inaccurate entry he’s noticed in the household books. He speculates aloud on why it is that champagne in bachelors’ homes always gets drunk by the servants. There follows some philosophical chat about the nature of marriage and the married state. Then Algernon dismisses Lane and soliloquizes briefly on the moral duty of the servant class.

Lane reenters and announces the arrival of Mr. Ernest Worthing, the play’s protagonist, who shortly will come to be known as Jack. Algernon greets Jack with evident enthusiasm, asking whether business or pleasure has brought him to town. Jack says pleasure. He notices the elaborate tea service and asks whom Algernon expects. When Algernon tells him Lady Bracknell and Gwendolen will be coming by, Jack is delighted. He confesses that he has come to town for the express purpose of proposing to Gwendolen. A brief debate follows as to whether this purpose constitutes “business” or “pleasure,” and in the course of it, Jack reaches for one of the cucumber sandwiches. Algernon reprimands him, saying that they have been ordered expressly for his aunt. Jack points out that Algernon has been eating them the whole time they’ve been talking. Algernon argues that it’s appropriate for him to eat the sandwiches since Lady Bracknell is his aunt and suggests that Jack help himself to the bread and butter, which has been ordered for Gwendolen. When Jack begins eating the bread and butter a bit too enthusiastically, Algernon accuses Jack of behaving as though he were already married to Gwendolen. He reminds Jack he isn’t yet engaged to her and says he doubts he ever will be. Surprised, Jack asks what Algernon means. Algernon reminds Jack that Gwendolen is his first cousin and tells him that before he gives his consent to the union, Jack “will have to clear up the whole question of Cecily.” Jack professes bewilderment and says he doesn’t know anyone named Cecily. By way of explanation, Algernon asks Lane to find “that cigarette case Mr. Worthing left in the smoking room the last time he dined here.”
The cigarette case, when it arrives, causes Jack some consternation and Algernon much glee. Jack seems to have forgotten that the case bears an inscription from “little Cecily” to “her dear Uncle Jack.” Algernon forces Jack to explain what the inscription means, and Jack admits his name isn’t really Ernest at all—it’s Jack. Algernon pretends to be incensed and disbelieving. He points out that Jack has always introduced himself as Ernest, that he answers to the name Ernest, that he even looks as though his name were Ernest. He pulls out one of Jack’s visiting cards and shows him the name and address on it, saying he intends to keep the card as proof that Jack’s name is Ernest. With some embarrassment, Jack explains that his name is “Ernest in town and Jack in the country.”
Algernon is still unsatisfied. He tells Jack he has always suspected him of being “a confirmed and secret Bunburyist,” a term he refuses to define until Jack explains why he goes by two completely different names, and he requests that the explanation be “improbable.” Jack protests that his explanation is not improbable. He says the old gentleman who adopted him as a boy, Mr. Thomas Cardew, in his will made him guardian to his granddaughter, Miss Cecily Cardew, who lives on Jack’s country estate with her governess, Miss Prism, and addresses Jack as her uncle out of respect. Algernon slips in questions about the location of Jack’s estate, but Jack refuses to answer and continues with his explanation.
Jack says that anyone placed in the position of legal guardian must have moral views about everything, and since the utmost morality doesn’t bring great happiness, he has always pretended to have a troublesome younger brother named Ernest who lives at the Albany Hotel and who frequently gets in trouble. This false brother gives Jack an excuse to go to town whenever he wants to.
Algernon counters by telling Jack a secret of his own. Just as Jack has invented a younger brother so as to be able to escape to London, Algernon has invented a friend called Bunbury, a permanent invalid whose sudden and frequent relapses afford him a chance to get away to the country whenever he wants. Bunbury’s illness, for instance, will allow Algernon to have dinner with Jack that evening, despite the fact that he has been committed, for Act I, Part One
Nothing will induce me to part with with Bunbury, and if you ever get married, which seems to me extremely problematic, you will be very glad to know Bunbury. A man who marries without knowing Bunbury has a very tedious time of it.
(See Important Quotations Explained)

Summary
The play opens in the morning room of Algernon Moncrieff’s flat in the fashionable Mayfair section of London’s West End. As the curtain rises, Algernon’s butler, Lane, is onstage laying out afternoon tea while Algernon, offstage, plays the piano badly. Before long, the music stops and Algernon enters talking about his playing, but Lane says ironically that he didn’t feel it was “polite” to listen. Algernon briefly defends his musicianship, then turns to the matter of Lane’s preparations for tea. Algernon asks particularly about some cucumber sandwiches he has ordered for Lady Bracknell, his aunt, who is expected for tea along with her daughter, Gwendolen Fairfax, Algernon’s cousin. Lane produces the cucumber sandwiches, which Algernon begins to munch absentmindedly, casually remarking on an extremely inaccurate entry he’s noticed in the household books. He speculates aloud on why it is that champagne in bachelors’ homes always gets drunk by the servants. There follows some philosophical chat about the nature of marriage and the married state. Then Algernon dismisses Lane and soliloquizes briefly on the moral duty of the servant class.

Lane reenters and announces the arrival of Mr. Ernest Worthing, the play’s protagonist, who shortly will come to be known as Jack. Algernon greets Jack with evident enthusiasm, asking whether business or pleasure has brought him to town. Jack says pleasure. He notices the elaborate tea service and asks whom Algernon expects. When Algernon tells him Lady Bracknell and Gwendolen will be coming by, Jack is delighted. He confesses that he has come to town for the express purpose of proposing to Gwendolen. A brief debate follows as to whether this purpose constitutes “business” or “pleasure,” and in the course of it, Jack reaches for one of the cucumber sandwiches. Algernon reprimands him, saying that they have been ordered expressly for his aunt. Jack points out that Algernon has been eating them the whole time they’ve been talking. Algernon argues that it’s appropriate for him to eat the sandwiches since Lady Bracknell is his aunt and suggests that Jack help himself to the bread and butter, which has been ordered for Gwendolen. When Jack begins eating the bread and butter a bit too enthusiastically, Algernon accuses Jack of behaving as though he were already married to Gwendolen. He reminds Jack he isn’t yet engaged to her and says he doubts he ever will be. Surprised, Jack asks what Algernon means. Algernon reminds Jack that Gwendolen is his first cousin and tells him that before he gives his consent to the union, Jack “will have to clear up the whole question of Cecily.” Jack professes bewilderment and says he doesn’t know anyone named Cecily. By way of explanation, Algernon asks Lane to find “that cigarette case Mr. Worthing left in the smoking room the last time he dined here.”
The cigarette case, when it arrives, causes Jack some consternation and Algernon much glee. Jack seems to have forgotten that the case bears an inscription from “little Cecily” to “her dear Uncle Jack.” Algernon forces Jack to explain what the inscription means, and Jack admits his name isn’t really Ernest at all—it’s Jack. Algernon pretends to be incensed and disbelieving. He points out that Jack has always introduced himself as Ernest, that he answers to the name Ernest, that he even looks as though his name were Ernest. He pulls out one of Jack’s visiting cards and shows him the name and address on it, saying he intends to keep the card as proof that Jack’s name is Ernest. With some embarrassment, Jack explains that his name is “Ernest in town and Jack in the country.”
Algernon is still unsatisfied. He tells Jack he has always suspected him of being “a confirmed and secret Bunburyist,” a term he refuses to define until Jack explains why he goes by two completely different names, and he requests that the explanation be “improbable.” Jack protests that his explanation is not improbable. He says the old gentleman who adopted him as a boy, Mr. Thomas Cardew, in his will made him guardian to his granddaughter, Miss Cecily Cardew, who lives on Jack’s country estate with her governess, Miss Prism, and addresses Jack as her uncle out of respect. Algernon slips in questions about the location of Jack’s estate, but Jack refuses to answer and continues with his explanation.
Jack says that anyone placed in the position of legal guardian must have moral views about everything, and since the utmost morality doesn’t bring great happiness, he has always pretended to have a troublesome younger brother named Ernest who lives at the Albany Hotel and who frequently gets in trouble. This false brother gives Jack an excuse to go to town whenever he wants to.
Algernon counters by telling Jack a secret of his own. Just as Jack has invented a younger brother so as to be able to escape to London, Algernon has invented a friend called Bunbury, a permanent invalid whose sudden and frequent relapses afford him a chance to get away to the country whenever he wants. Bunbury’s illness, for instance, will allow Algernon to have dinner with Jack that evening, despite the fact that he has been committed, for over a week, to dining at Lady Bracknell’s. Algernon wants to explain the rules of “Bunburying” to Jack, but Jack denies being a “Bunburyist.” He says if Gwendolen accepts his marriage proposal he plans to kill off his imaginary brother, and that he’s thinking of doing so in any case because Cecily is taking too much interest in Ernest. Jack suggests that Algernon do the same with Bunbury. While the two men argue about the uses and merits of a married man’s “knowing Bunbury,” Lady Bracknell and Gwendolen are announced.

over a week, to dining at Lady Bracknell’s. Algernon wants to explain the rules of “Bunburying” to Jack, but Jack denies being a “Bunburyist.” He says if Gwendolen accepts his marriage proposal he plans to kill off his imaginary brother, and that he’s thinking of doing so in any case because Cecily is taking too much interest in Ernest. Jack suggests that Algernon do the same with Bunbury. While the two men argue about the uses and merits of a married man’s “knowing Bunbury,” Lady Bracknell and Gwendolen are announced.

Eroka

29-02-2008, 04:47 PM

Act I, Part Two
I do not approve of anything that tampers with natural ignorance. Ignorance is like a delicate exotic fruit; touch it and the bloom is gone.

Summary
Lady Bracknell comes onstage gossiping about a friend whose husband has died recently. Seating herself, she asks for one of the cucumber sandwiches Algernon has promised her. However, no cucumber sandwiches are in sight—Algernon, without realizing what he was doing, has devoured every last one. He gazes at the empty plate in horror and asks Lane sharply why there are no cucumber sandwiches. Quickly sizing up the situation, Lane explains blandly that he couldn’t find cucumbers at the market that morning. Algernon dismisses Lane with obvious, and feigned, displeasure. Lady Bracknell is not concerned, and she chatters about the nice married woman she’s planning to have Algernon take in to dinner that evening. Regretfully, Algernon tells Lady Bracknell that due to the illness of his friend Bunbury, he’ll be unable to come to dinner after all. Lady Bracknell expresses her irritation about Bunbury’s “shilly-shallying” over the question of whether he’ll live or die. To appease her, and to give Jack a chance to propose to Gwendolen, Algernon offers to go over the musical program for an upcoming reception with her and takes her into the music room.
Alone with Gwendolen, Jack awkwardly stammers out his admiration, and Gwendolen takes charge. She lets Jack know right away that she shares his feelings, and Jack is delighted. However, he is somewhat dismayed to learn that a good part of Gwendolen’s attraction to him is due to what she believes is his name—Ernest. Gwendolen is fixated on the name Ernest, which she feels has “a music of its own” and “inspires absolute confidence.” Gwendolen makes clear that she would not consider marrying a man who was not named Ernest.
Lady Bracknell returns to the room, and Gwendolen tells her she is engaged to Jack. Lady Bracknell then interviews Jack to determine Jack’s eligibility as a possible son-in-law. Jack seems to be giving all the right answers, until Lady Bracknell inquires into his family background. Jack explains that he has no idea who his parents were, and that he was found, by the man who adopted him, in a handbag in the cloakroom at Victoria Station. Lady Bracknell is scandalized. She forbids him from marrying Gwendolen and leaves the house angrily.
Algernon enters, and Jack reviews the results of his interview with Lady Bracknell, explaining that as far as Gwendolen is concerned the two of them are engaged. Algernon asks mischievously whether Jack has told her the truth about being “Ernest in town, and Jack in the country,” and Jack scoffs at the idea. He says he plans to kill off Ernest by the end of the week by having him catch a severe chill in Paris. Algernon asks whether Jack has told Gwendolen about his ward, Cecily, and again Jack scoffs at the question. He claims Cecily and Gwendolen will surely become friends and “will be calling each other sister.”
Gwendolen reenters and asks to speak privately with Jack. She tells him how the story of his childhood has stirred her and declares her undying love, whatever happens. She asks Jack for his address in the country and Algernon listens in, jotting it down on his cuff. Jack exits with Gwendolen to show her to her carriage, and Lane comes in with some bills, which Algernon promptly tears up. He tells Lane he plans to go “Bunburying” the next day and asks him to lay out “all the Bunbury suits.” Jack returns, praising Gwendolen, and the curtain falls on Algernon laughing quietly and looking at his shirt cuff.

Eroka

29-02-2008, 04:49 PM

Act II, Part One
Summary
In the garden of The Manor House, Jack’s country estate in Hertfordshire, Miss Prism is trying to interest Cecily in her German lesson. Cecily would prefer to water the flowers, but Miss Prism reminds Cecily that Jack encourages Cecily to improve herself in every way. Cecily expresses some slight irritation with the fact that her Uncle Jack is so serious, and Miss Prism reminds her of his constant concern over his troublesome brother Ernest. Cecily, who has begun writing in her diary, says she wishes Jack would allow Ernest to visit them sometime. She suggests that she and Miss Prism might positively influence him, but Miss Prism doesn’t approve of the notion of trying to turn “bad people into good people.” She tells Cecily to put away her diary and to rely on her memory instead. Cecily points out that memory is usually inaccurate and also responsible for excessively long, three-volume novels. Miss Prism tells her not to criticize those long novels, as she once wrote one herself.

Dr. Chasuble, the local vicar, enters. Cecily tells Dr. Chasuble teasingly that Miss Prism has a headache and should take a walk with him, obviously aware of an unspoken attraction between Dr. Chasuble and Miss Prism. Miss Prism reproaches Cecily gently for fibbing, but she decides to take Cecily’s advice, and she and Dr. Chasuble go off together. The butler, Merriman, then enters and announces to Cecily that Mr. Ernest Worthing has just driven over from the station with his luggage. Merriman presents Cecily with a visiting card, which is the one Algernon took from Jack in Act I.
The visiting Mr. Ernest Worthing is actually Algernon, masquerading as Jack’s nonexistent brother, who enters dressed to the nines and greets Cecily as his “little cousin.” When Cecily tells him Jack won’t be back until Monday, Algernon pretends surprise and disappointment. Cecily tells Algernon that Jack has gone to town to buy Ernest some traveling clothes, as he plans on sending him to Australia as a last resort. Algernon proposes another plan: he thinks Cecily should reform him. Cecily says she doesn’t have time. Algernon decides to reform himself that afternoon, adding that he is hungry, and he and Cecily flirt with each other as they head into the house to find sustenance.
Miss Prism and Dr. Chasuble return from their walk, also flirting mildly. They are surprised when Jack enters from the back of the garden dressed in full Victorian mourning regalia. Jack greets Miss Prism with an air of tragedy and explains he has returned earlier than expected owing to the death of Ernest. Miss Prism and Dr. Chasuble express surprise, shock, and condolences, and Miss Prism makes a few moralistic pronouncements.
Jack’s story matches the one he and Algernon cooked up the previous evening: that Ernest passed away in Paris from a “severe chill.” Dr. Chasuble suggests that he might mention the sad news in next Sunday’s service and begins talking about his upcoming sermon. Jack remembers the problem of Gwendolen and his name, and he asks Dr. Chasuble about the possibility of being christened Ernest. They make arrangements for a ceremony that afternoon. As Dr. Chasuble prepares to leave, Cecily emerges from the house with the news that “Uncle Jack’s brother” has turned up and is in the dining room

Eroka

29-02-2008, 04:50 PM

Act II, Part Two
I hope you have not been leading a double life, pretending to be wicked and being really good all the time. That would be hypocrisy.

Summary
When Algernon appears in the doorway, Jack is furious, not only because Algernon is there, but also because he is disguised as Jack’s own invented, and now presumably dead, brother. Cecily takes Jack’s anger as part of the long-standing ill feeling between the two brothers and insists that Jack shake hands with Algernon, who has evidently been telling her about his good offices toward his poor friend Bunbury. Jack is apoplectic at the idea of Algernon talking to Cecily about Bunbury, but he can do nothing. He cannot expose Algernon without revealing his own deceptions and hypocrisy, and so he has to go along with the charade.

Jack wants Algernon to leave, but Algernon refuses as long as Jack is in mourning. As Jack goes off to change his clothes, Algernon soliloquizes briefly about being in love with Cecily. When she comes back to water the garden, he uses the opportunity to propose to her. He is surprised to discover that Cecily already considers herself engaged to him and charmed when she reveals that her sustained fascination with “Uncle Jack’s brother” had moved her, some months previously, to invent an elaborate romance between herself and Ernest. Cecily has created an entire relationship, complete with love letters (written by herself), a ring, a broken engagement, and a reconciliation, and chronicled it in her diary. Algernon is less enchanted with the news that part of Cecily’s interest in him derives from the name Ernest, which, echoing Gwendolen, Cecily says “inspires absolute confidence.”
Algernon goes off in search of Dr. Chasuble to see about getting himself christened Ernest. Meanwhile, Gwendolen arrives, having decided to pay an unexpected call at the Manor House. She is shown into the garden. Cecily, who has no idea who Gwendolen is or how she figures in Jack’s life, orders tea and attempts to play hostess, while Gwendolen, having no idea who Cecily is, initially takes her to be a visitor at the Manor House. She is disconcerted to hear that Cecily is “Mr. Worthing’s ward,” as Ernest has never mentioned having a ward, and she confesses to not being thrilled by the news or by the fact that Cecily is very young and beautiful. Cecily picks up on Gwendolen’s reference to “Ernest” and hastens to explain that her guardian is not Mr. Ernest Worthing but his brother Jack. Gwendolen asks if she’s sure, and Cecily reassures her, adding that, in fact, she is engaged to be married to Ernest Worthing. Gwendolen points out that this is impossible as she herself is engaged to Ernest Worthing. The tea party degenerates into a kind of catfight in which the two women insult one another with utmost civility.
Toward the climax of this confrontation, Jack and Algernon arrive, one after the other, each having separately made arrangements with Dr. Chasuble to be christened Ernest later that day. Each of the young ladies takes great pleasure in pointing out that the other has been deceived: Cecily informs Gwendolen that her fiancé is really named Jack and Gwendolen informs Cecily that hers is really called Algernon. Shocked and angry, the two women demand to know where Jack’s brother Ernest is, since both of them are engaged to be married to him, and Jack is forced to admit that he has no brother and that Ernest is a complete fiction. Both women are furious. They retire to the house arm in arm, calling each other “sister.” Alone, Jack and Algernon must sort out their differences. Each taunts the other with having been found out and they end up squabbling over muffins and teacake

Eroka

29-02-2008, 04:50 PM

Act III, Part One
Summary
Cecily and Gwendolen have retreated to the drawing room of the Manor House to get away from Algernon and Jack. They are eager to forgive the men and be reconciled. When Algernon and Jack enter from the garden, Cecily and Gwendolen confront them about their motives. Cecily asks Algernon why he pretended to be Jack’s brother, and Algernon says it was in order to meet her. Gwendolen asks Jack if he pretended to have a brother so as to be able to come to London to see her as often as possible, and he asks if she can doubt it. Gwendolen says she has the gravest doubts but intends to crush them.

Cecily and Gwendolen are on the verge of forgiving Algernon and Jack when they remember that neither of them is any longer engaged to a man called Ernest. Algernon and Jack explain that each has made arrangements to be rechristened Ernest before the day is out, and the young women, bowled over by men’s “physical courage” and capacity for “self-sacrifice,” are won over.
As the couples embrace, Lady Bracknell enters, having bribed Gwendolen’s maid for information about her destination. On seeing Algernon, she asks whether this house is the house where his friend Bunbury resides. Algernon, forgetting momentarily that he is supposed to be at his friend’s bedside, says no, but quickly tries to cover himself and blurts that Bunbury is dead. He and Lady Bracknell briefly discuss Bunbury’s sudden demise. Jack then introduces Cecily to Lady Bracknell, and Algernon announces their engagement. Lady Bracknell asks about Cecily’s background, asking first, rather acidly, whether she is “connected with any of the larger railway stations in London.” Jack obligingly volunteers information about Cecily, answering Lady Bracknell’s presumptuous questions with a withering irony that goes over Lady Bracknell’s head. Her interest is greatly piqued when she learns that Cecily is actually worth a great deal of money and stands to inherit even more when she comes of age.
Jack refuses to give his consent to Cecily’s marriage to Algernon until Lady Bracknell grants her consent to his union with Gwendolen, but Lady Bracknell refuses. She summons Gwendolen to her side and prepares to depart. Before they can leave, however, Dr. Chasuble arrives to announce that everything is ready for the christenings. Jack explains that he and Algernon no longer need the christenings immediately and suggests that the ceremonies be postponed. The rector prepares to withdraw, explaining that Miss Prism is waiting for him back at the rectory. At the sound of Miss Prism’s name, Lady Bracknell starts. She asks a number of incisive questions about Miss Prism then demands that she be sent for. Miss Prism herself arrives at that moment

Eroka

29-02-2008, 04:51 PM

Act III, Part Two
I’ve now realized for the first time in my life the vital Importance of Being Earnest.

Summary
When Miss Prism sees Lady Bracknell, she begins behaving in a frightened and furtive manner. Lady Bracknell asks her severely about the whereabouts of a certain baby that Miss Prism was supposed to have taken for a walk twenty-eight years ago. Lady Bracknell proceeds to recount the circumstances of the baby’s disappearance: Miss Prism left a certain house in Grosvenor Square with a baby carriage containing a male infant and never returned, the carriage was found some weeks later in Bayswater containing “a three-volume novel of more than usually revolting sentimentality,” and the baby in question was never found. Miss Prism confesses apologetically that she doesn’t know what happened to the baby. She explains that on the day in question she left the house with both the baby and a handbag containing a novel she had been working on, but that at some point she must have absentmindedly confused the two, placing the manuscript in the carriage and the baby in the handbag.

Now Jack joins the discussion, pressing Miss Prism for further details: where did she leave the handbag? Which railway station? What line? Jack excuses himself and hurries offstage, returning a moment or two later with a handbag. He presents the handbag to Miss Prism and asks her if she can identify it. Miss Prism looks the handbag over carefully before acknowledging that it is the handbag she mislaid. She expresses delight at having it back after so many years. Jack, under the impression that he has discovered his true parentage, throws his arms melodramatically around Miss Prism with a cry of “Mother!” Miss Prism, shocked, reminds Jack that she is unmarried. Jack, misunderstanding her point, launches into a sentimental speech about forgiveness and redemption through suffering and society’s double standard about male and female transgression. With great dignity, Miss Prism gestures toward Lady Bracknell as the proper source of information about Jack’s history and identity. Lady Bracknell explains that Jack is the son of her poor sister, which makes him Algernon’s older brother.
The revelation removes all obstacles to Jack’s union with Gwendolen, but the problem of Jack’s name remains. Gwendolen points out that they don’t know his true name. Though Lady Bracknell is sure that as the elder son he was named after his father, no one can recall what General Moncrieff’s first name was. Fortunately, Jack’s bookshelves contain recent military records, and he pulls down and consults the appropriate volume. Jack’s father’s Christian names turn out to have been “Ernest John.” For all these years, Jack has unwittingly been telling the truth: his name is Ernest, it is also John, and he does indeed have an unprincipled younger brother—Algernon. Somewhat taken aback by this turn of events, Jack turns to Gwendolen and asks if she can forgive him for the fact that he’s been telling the truth his entire life. She tells him she can forgive him, as she feels he is sure to change. They embrace, as do Algernon and Cecily and Miss Prism and Dr. Chasuble, and Jack acknowledges that he has discovered “the vital Importance of Being Earnest.”

Eroka

29-02-2008, 04:52 PM

اتمنى اني اكون افدتك

بالتوفيق

Eroka

29-02-2008, 04:59 PM

اختي manal 232

شوفي هذا الرابط ان شاء الله يفيدك

http://www.sparknotes.com/drama/oedipus/section6.rhtml

manal232

01-03-2008, 12:40 PM

مشكورة اللة يجزاك خير

just a girl_21

01-03-2008, 11:17 PM

eroka مجهود رائع تشكرين عليه
الله يعطيك العافيه

المتفائلة

01-03-2008, 11:33 PM

الزهرة الخضراء

02-03-2008, 12:17 AM

السلام عليكم ورحمة الله وبركاته..
الله يجزاكم خير ابغى مساعدتكم.. ابغى بحث عن مسرحية Everyman and medieval meracle
ابغى بس عن الشخصيات اللي في المسرحية character والله يعافيكم ابغى قبل نهاية الاسبوع.. بليز اللي ما تعرف تكتب للرفع عشان حد يساعدني.
الله يعافيكم ويوفقكم ويحقق لكم ما تتمنوه ويرزقكم الجنة...

اتمنى الروابط التالية تفيدك ... الله يوفقك ...
http://www.planetpapers.com/Assets/1821.php
http://www.cummingsstudyguides.net/Guides3/Everyman.html
http://homepage.mac.com/mseffie/assignments/everyman/everymansg.html
http://faculty.goucher.edu/eng211/Everyman.html
http://www.culturewars.org.uk/2004-01/everyman.htm
http://en.wikipedia.org/wiki/Everyman_(play)

المتفائلة

02-03-2008, 12:30 AM

أختي الزهرة الخضراء.. سلمت أناملك
جزاك الله الجنان وحرم وجهك عن النار و والديك وفرج الله همومك وكشف عن غمومك ووسع الله لك بالدنيا والآخره وحقق امنياتك ورزقك الفردوس الأعلى اللهم آمين وصلى الله على نبينا محمد وعلى آل هوصحبه وسلم..

كاثرين

02-03-2008, 10:04 PM

السلام عليكم ورحمة الله وبركاته لوسمحتم الي تحمل ثلاث مواد في المستوى الأول مايقدر يكمل ماجستير حتى ولو مستواة تحسن شكراً بارك الله فيك وجزاك الله كل خير

كاثرين

02-03-2008, 10:10 PM

[QUOTE=reem-6-;363834]السلام عليكم لوسمحتوا الدكتوره اعطتنا قصة أسمها

لوسمحتي درستها هذي الروايتن ,انشاء أرسلك الترجمة وتحليل الشخصيلت في أقرب وقت

سن ست

04-03-2008, 06:23 PM

بسم الله الرحمن الرحيم

السلام عليكم ....

لو سمحتوا اعضاء سعودي انجلش ، ترجمه لروايه the mill on the floss للكاتب George Eliot بالكامل اذا امكن لان الدكتوره متشدده شوي ماتبي بالمفهوم العام.. واكوووون شاكره لكم لاني والله تعبت وانا ادور وماحصلت

وشكرا لكم جميعا..

فيونكة الحلوة

04-03-2008, 07:48 PM

السلام عليكم ورحمة الله وبركاته

ابغى تعرف
tragedy
comedy
والفرق بينهم
واكون لكم شاكرة

أميرة فارسية

04-03-2008, 10:08 PM

السلام عليكم ورحمة الله وبركاته
لو سمحتم ممكن شرح لقصيدة Ulysses للشاعر Tennyson Alfred

منول؟؟؟

07-03-2008, 01:27 AM

السلام عليكم ورحمة الله وبركاته
انا عندى essay عن الفلم وهذا نص السؤال
write develop essay about your favourit movie in 2 paragraph
1-the name of movie and the story و أين حدث فى اي مكان
2-why I like this movie
وهذا عنوان فصل الافلام تبع الكتابGreat classic movies
خاصه انى منذ خلقت على وجه الارض وانا لم ارى افلام فى حياتى الى الآن فما الحل سائلة الله العون و التوفيق والسداد وشاكرة لكل من سيساعدنى ومن مر على موضوعى.

سحات الليل

09-03-2008, 01:21 PM

السلام عليكم ورحمة الله وبركاته

ابغى تعرف
tragedy
comedy
والفرق بينهم
واكون لكم شاكرة

تفضلي اختي موضوع رائع واعجبني جدا عن التراجدي والكوميدي
وان شاءالله افيدك الموقع كله بيساعدك

http://www.deep-inspiration.com/vb/showthread.php?p=122#post122

D!aMonD

09-03-2008, 09:12 PM

hey there
السلام عليكم ورحمة الله وبركاته,,

اعزائي عندي طلب اتمنى تفيدوني بأسرع وققت ممكــــــــــــــــن <اخر تسليم له يوم الاربعاء بعد 3 ايام يعني

بريزنتيشن يتكلم عن الجمال الطبيعي Natural Beauty
يعني زي التعبير كامل كانوا القداماء يستخدمون مستحضرات طبيعيه
........
ومو لازم يكون طويل مره مايخااالف ..

ومشكورييييييييييييييييييييين مقدما =}=}

نعناعه

09-03-2008, 09:55 PM

السلام عليكم

ممكن ترجمة لروايه Heart of Darknass

ضروري

Perfect

12-03-2008, 12:18 AM

Hi
I need an acticle about human rights
pleassssssssssssssssssssssssse

manal232

12-03-2008, 08:03 PM

ممكن ترجمة مسرحية الملك اوديب
اللة يجزاكم خير

روح العطاء

13-03-2008, 03:14 AM

السلام عليكم

لو سمحتوا اللي عندها خلفيه عن روايةthe Rising of the Moon ل Lady Gregory

تفيدني مشكوره ببعض المعلومات عنها

دمتم بسعاده

مروحه

13-03-2008, 10:41 PM

السلام عليكم

ممكن ملخص لراويه
the railway children
اذا امكن
ومشكورين

Chic Girl

14-03-2008, 01:59 AM

السلام عليكم ورحمة الله وبركاتة

احتاج تحليل قصيدة

The Mower to the Glow-Worms
by Andrew Marvell

وجزاكم الله خير مقدما

no0ony

15-03-2008, 09:35 PM

السلام عليكمـ

لو سمحتوو اخواني ياليت تساعدوني اليوووم ضروري

ابي التعريفات هذي :

1-"Argumentative paragraph"

2-"persuasive paragraph"

3-"Expository pragraph"

4-"NARRATIVE pragraph"

غرروورر

17-03-2008, 04:04 PM

مرحبا ..
ابي روايه
lord of the flies
مترجمه بالعربي .. بليز ضروري ؟؟

fulla86

20-03-2008, 02:10 AM

السلام عليكم ورحمه الله وبركـــــــــــــــــــــ ــاته

مرحبا كيفكم يا حلوووووووات :smile (40):

ممكن اطلب منكم طلب صغيرون ؟؟ّّ!!وبتمنى ما حد يردني

سمعتو عن مسرحيه waiting for godot

ياريت اذا ممكن اذا حد بيلاقي لي اي شي بيتعلق بهالمسرحيه سواء مخلص او تحليل او حتى ترجمه عن فهم .....

مونيا24

20-03-2008, 05:08 PM

لو سمحتوا ابي بحث عن اخر التطورات في الرواية النجليزية

الزهرة الخضراء

21-03-2008, 10:40 PM

الزهرة الخضراء

21-03-2008, 10:56 PM

مرحبا ..
ابي روايه
lord of the flies
مترجمه بالعربي .. بليز ضروري ؟؟

من حسن حظك حصّلت لك الترجمة ...
Download File (http://http://www.4shared.com/file/36927589/cb737afa/___online.html?dirPwdVerified=aeaf179a)

الزهرة الخضراء

21-03-2008, 11:38 PM

لو سمحتوا ابي بحث عن اخر التطورات في الرواية النجليزية

تصفحي هذا الكتاب عن طريق ضغط الاسهم اللتي في اليمين واليسار ..

THE DEVELOPMENT OF THE ENGLISH NOVEL (http://www.questia.com/PM.qst?a=o&d=30300369)

روح العطاء

22-03-2008, 11:56 PM

السلام عليكم ..

لو سمحتوا ممكن تحليل شخصيات رواية

The Rising of the Moon
:girl face (192):

M!SS ROZE

24-03-2008, 07:55 PM

السلام عليكم ..

هذي قصيدة ومطلوب مني اصلح فيها برزنتيشن
متوهقة حييل القصيدة مغموؤة مالها اي شروحات لافي كتب ولانت :smile (56):

لو احد يعرف يفك لي طلاسمها يشرحها بفهمه الخاص

God's Grandeur

The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man's smudge and shares man's smell: the soil
Is bare now, nor can foot feel, being shod.

And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs --
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.

-- Gerard Manley Hopkins

ولكم تحياتي

الزهرة الخضراء

24-03-2008, 10:13 PM

السلام عليكم ..

هذي قصيدة ومطلوب مني اصلح فيها برزنتيشن
متوهقة حييل القصيدة مغموؤة مالها اي شروحات لافي كتب ولانت :smile (56):

لو احد يعرف يفك لي طلاسمها يشرحها بفهمه الخاص

God's Grandeur

Summary

The first four lines of the octave (the first eight-line stanza of an Italian sonnet) describe a natural world through which God's presence runs like an electrical current, becoming momentarily visible in flashes like the refracted glintings of light produced by metal foil when rumpled or quickly moved. Alternatively, God's presence is a rich oil, a kind of sap that wells up "to a greatness" when tapped with a certain kind of patient pressure. Given these clear, strong proofs of God's presence in the world, the poet asks how it is that humans fail to heed ("reck") His divine authority ("his rod").
The second quatrain within the octave describes the state of contemporary human life--the blind repetitiveness of human labor, and the sordidness and stain of "toil" and "trade." The landscape in its natural state reflects God as its creator; but industry and the prioritization of the economic over the spiritual have transformed the landscape, and robbed humans of their sensitivity to the those few beauties of nature still left. The shoes people wear sever the physical connection between our feet and the earth they walk on, symbolizing an ever-increasing spiritual alienation from nature.
The sestet (the final six lines of the sonnet, enacting a turn or shift in argument) asserts that, in spite of the fallenness of Hopkins's contemporary Victorian world, nature does not cease offering up its spiritual indices. Permeating the world is a deep "freshness" that testifies to the continual renewing power of God's creation. This power of renewal is seen in the way morning always waits on the other side of dark night. The source of this constant regeneration is the grace of a God who "broods" over a seemingly lifeless world with the patient nurture of a mother hen. This final image is one of God guarding the potential of the world and containing within Himself the power and promise of rebirth. With the final exclamation ("ah! bright wings") Hopkins suggests both an awed intuition of the beauty of God's grace, and the joyful suddenness of a hatchling bird emerging out of God's loving incubation.

Form

This poem is an Italian sonnet--it contains fourteen lines divided into an octave and a sestet, which are separated by a shift in the argumentative direction of the poem. The meter here is not the "sprung rhythm" for which Hopkins is so famous, but it does vary somewhat from the iambic pentameter lines of the conventional sonnet. For example, Hopkins follows stressed syllable with stressed syllable in the fourth line of the poem, bolstering the urgency of his question: "Why do men then now not reck his rod?" Similarly, in the next line, the heavy, falling rhythm of "have trod, have trod, have trod," coming after the quick lilt of "generations," recreates the sound of plodding footsteps in striking onomatopoeia.

Commentary

The poem begins with the surprising metaphor of God's grandeur as an electric force. The figure suggests an undercurrent that is not always seen, but which builds up a tension or pressure that occasionally flashes out in ways that can be both brilliant and dangerous. The optical effect of "shook foil" is one example of this brilliancy. The image of the oil being pressed out of an olive represents another kind of richness, where saturation and built-up pressure eventually culminate in a salubrious overflow. The image of electricity makes a subtle return in the fourth line, where the "rod" of God's punishing power calls to mind the lightning rod in which excess electricity in the atmosphere will occasionally "flame out." Hopkins carefully chooses this complex of images to link the secular and scientific to mystery, divinity, and religious tradition. Electricity was an area of much scientific interest during Hopkins's day, and is an example of a phenomenon that had long been taken as an indication of divine power but which was now explained in naturalistic, rational terms. Hopkins is defiantly affirmative in his assertion that God's work is still to be seen in nature, if men will only concern themselves to look. Refusing to ignore the discoveries of modern science, he takes them as further evidence of God's grandeur rather than a challenge to it. Hopkins's awe at the optical effects of a piece of foil attributes revelatory power to a man-made object; gold-leaf foil had also been used in recent influential scientific experiments. The olive oil, on the other hand, is an ancient sacramental substance, used for centuries for food, medicine, lamplight, and religious purposes. This oil thus traditionally appears in all aspects of life, much as God suffuses all branches of the created universe. Moreover, the slowness of its oozing contrasts with the quick electric flash; the method of its extraction implies such spiritual qualities as patience and faith. (By including this description Hopkins may have been implicitly criticizing the violence and rapaciousness with which his contemporaries drilled petroleum oil to fuel industry.) Thus both the images of the foil and the olive oil bespeak an all-permeating divine presence that reveals itself in intermittent flashes or droplets of brilliance.
Hopkins's question in the fourth line focuses his readers on the present historical moment; in considering why men are no longer God-fearing, the emphasis is on "now." The answer is a complex one. The second quatrain contains an indictment of the way a culture's neglect of God translates into a neglect of the environment. But it also suggests that the abuses of previous generations are partly to blame; they have soiled and "seared" our world, further hindering our ability to access the holy. Yet the sestet affirms that, in spite of the interdependent deterioration of human beings and the earth, God has not withdrawn from either. He possesses an infinite power of renewal, to which the regenerative natural cycles testify. The poem reflects Hopkins's conviction that the physical world is like a book written by God, in which the attentive person can always detect signs of a benevolent authorship, and which can help mediate human beings' contemplation of this Author.

http://www.sparknotes.com/poetry/hopkins/section1.html

StyLe Girl

27-03-2008, 02:56 PM

السلام عليكم

أولا شيء أشكر ع مجهودتكم الرائعه ~:smile (40):

ثانيا : عندي سؤال و طلي بعد أذنكم ~

سؤال : أنا الطالبة جديدة لقسم انجليزي و ول س جديده ع الأدب:smile (97):
عندي مشكله :smile (97):في تحليل مو قاده أفرق بين هذي ثلاث أشياء عندي أستخارجها في تحليل قصائد

ِAlliteration , Assonance and Consonance

وهذي بعد ما اعرف كيف أستخرجها:smile (74):

personification ,
hyperbole
paradox
scheme
onomatopoeia
و طلبي بعد أذنكم :small:
تحليل لقصيدتين هذولي :smile (56):

" Elegy written in county chountry church yard "
By : Thomas Gray

2- " Mother To Son "
By: Langston Hughes

من حيث the figures of speech
Silmile and metaphor ,personification , hyperbole, paradox , scheme
onomatopoeia, Rhyme scheme , Alliteration , Assonance and Consonance

و الف شكر لكم مقدما ً

الزهرة الخضراء

28-03-2008, 12:47 AM

Alliteration

Alliteration is the repetition of consonants within words in close proximity. Alliteration generally refers to sounds at the start of a word. Here are two literary examples:

Beowulf was written in Old English and contains many lines of alliteration:

feasceaft funden; he þæs frofre gebad,
weox under wolcnum, weorþ-myndum þah

In the first line, the letter "f" is used in repetition, and the same with "w" in the second line.

In Gerard Manley Hopkins's “Pied Beauty”:

Glory be to God for dappled things...
Landscapes plotted and pieced—fold, fallow and plough;
And áll trádes, their gear and tackle and trim.

The letter “g” is used in repetition in the first line, “p” and “f” in the second line, and “t” in the third line.

In one more example, Shakespeare parodies alliteration in Peter Quince's Prologue in A Midsummer Night's Dream:

Whereat, with blade, with bloody blameful blade,
He bravely breach'd his boiling bloody breast.

Assonance:

Assonance is the repetition of vowel-sounds within non-rhyming words.

In Poe's, "Bells" he uses assonance of the vowel "e:"

Hear the mellow wedding bells.

Assonance of the vowel "u" used by Robert Louis Stevenson:

The crumbling thunder of seas

Consonance:

Consonance is the repetition of consonant sounds within words. Consonance is very similar to alliteration, but the distinction between the two lies in the placement of the sounds. If the repeated sound is at the start of the words, it is alliteration. If it is anywhere else, it is consonance. In most cases, consonance refers to the end sound (like “nk” in blank and think

Consonance in "The Silken Tent" by Robert Frost:

"as in guys she gently sways at ease"

Comparing Alliteration, Assonance and Consonance:

There is an example of all three of these terms in one line of the poem, “The Raven,” written by Edgar Allan Poe:

And the silken sad uncertain rustling of each purple curtain

This line clearly contains all three, and can show the difference between assonance, consonance and alliteration.

Assonance is the repetition of the ur sound in "purple" and "curtain."

Consonance is the repetition of the s sound within "uncertain" and "rustling."

Alliteration is the repetition of the s sound at the start of "silked" and "sad."

These terms are very closely related, though the distinction between them comes in determining vowels versus consonants, and then placement within the words.
_______________________________________

الزهرة الخضراء

28-03-2008, 12:59 AM

Personification

Definition: when you make a thing, idea, or an animal do something only humans can do.

Examples

"Wind yells while blowing"

"Wind yells while blowing" is an example of personification because wind cannot yell. Only a living thing can yell.

Necklace is a friend

"Necklace is a friend" is an example of personification because Necklace is a thing, and necklaces cannot be friends. Only living things can have friends.
_______________________
hyperbole

In poetry, hyperbole can emphasize or dramatize a person’s opinions or emotions. Skilled poets use hyperbole to describe intense emotions and mental states. Othello uses hyperbole to describe his anger at the possibility of Iago lying about his wife’s infidelity in Act III, Scene III of Shakespeare’s play Othello:
If thou dost slander her and torture me,
Never pray more; abandon all remorse;
On horror’s head accumulate;
Do deeds to make heaven weep, all earth amazed;
For nothing canst thou to damnation add
Greater than that.
In this passage, Othello is telling Iago that if he is lying then Othello will have no pity and Iago will have no hope for salvation. Adding horrors with still more horrors, Othello is describing his potential rage. Othello even declares that the Earth will be confounded with horror at Othello’s actions in such a state of madness.
______________________
paradox

A paradox reduced to two words, usually in an adjective-noun ("eloquent silence") or adverb-adjective ("inertly strong") relationship, and is used for effect, to emphasize contrasts, incongruities, hypocrisy, or simply the complex nature of reality. Examples:
wise fool,
ignorantly learned,
laughing sadness,
pious hate.
______________________
Rhyme scheme

Rhyme scheme is the pattern established by the arrangement of rhymes in a stanza or poem, generally described by using letters of the alphabet to denote the recurrence of rhyming lines, such as the ababbcc of the Rhyme Royal stanza form.

The opening stanza of Wordsworth's "I Wandered Lonely as a Cloud," with end rhymes of the words, cloud-hills-crowd-daffodils-trees-breeze, is described as having a rhyme scheme of ababcc;

the two quatrains of the poem, "La Tour Eiffel," with end words of form-warm-storm-insouciance and earth-mirth-birth-France, have an interlocking or chain rhyme scheme of aaab cccb.

Capital letters in the alphabetic rhyme scheme are used for the repeating lines of a refrain; the letters x and y indicate unrhymed lines.

In quatrains, the popular rhyme scheme of abab, as in Wordsworth's "She Dwelt Among the Untrodden Ways," is called alternate rhyme or cross rhyme. Tennyson used an abba scheme, often called envelope rhyme, for "In Memoriam." The rhyme scheme of Fitzgerald's The Rubáiyát of Omar Khayyám, is aaxa
_____________________
Onomatopoeia

Onomatopoeia is the formation of words in imitation of sounds; a figure of speech in which the sound of a word is imitative of the sound of the thing which the word represents;
as, the buzz of bees; the hiss of a goose; the crackle of fire.
Also Words such as whinny, splash, and knock are examples of onomatopoeia.

الزهرة الخضراء

28-03-2008, 01:33 AM

"Mother to Son"
Summary: Langston Hughes' moving poem "Mother to Son" empowers not only the son, but also the reader with precious words of wisdom. Through the skillful use of literary devices such as informal language, symbolism, metaphors, repetition, as well as clever use of format, Hughes manages to muster up the image of a mother lovingly, yet firmly, talking to her son about life.
___________

Langston Hughes' poem, "Mother to Son" is reminiscent of the well-known expression "let's have a father to son chat"; however, in this case, the saying is altered to "mother to son." One may ask, "so where is the father"." Possibly, this is one of the many struggles that the "son" in this poem must face when the mother is compelled to offer her sage advice. The advice and consequently theme of the poem is determination and courage, in particular when confronting the uphill battle of life. Poetic devices, such as informal language, symbolisms, metaphors, repetition, and format lend to the theme.

Written from the mother's point of view, in the form of advice, the audience feels the warmth and approachability of southern dialect. Immediately, an impression of a middle-aged women battered by life's struggles, with no formal education, but plenty of life experiences, is conjured up. Informal language is cleverly used to visually sketch a trustworthy motherly figure who has valuable advice to offer.

Informal language is not the only device Langston Hughes uses to craft vivid imagery to support the theme. Symbols like "tacks" illustrate the sharpness and discomfort of life's obstacles. Basically, the obstacles that tack down and depress an individual, consequently preventing him from advancing in life. Splinters represent the inflammatory pain and the difficulties in removing and overcoming this pain in life. Even the metaphor of life being compared to stairs symbolizes the exhaustive uphill climb in life. In contrast, the crystal stair represents clarity and perfection, a life that the mother makes clearly obvious was not given to her.

Moreover, repetition adds to the imagery of the poem and helps support the theme. "Tell", "ain't", "crystal stair", "tacks", "splinters", "torn", "places", "carpet", "time", "peace", "climb", "corners", "steps": the constant repetition of p's, t's,and s's render the reader completely breathless imitating the exhaustive uphill climb of stairs. Even the repeated use of specific words add to the effect of repetition. Using the word "and" over and over creates an incessant feeling of never-ending continuation, consequently reinforcing the theme of courage and determination, both vital factors necessary to continue the "stair climbing."

Furthermore, the actual format of the poem supports the central theme. For example, the word "Bare" standing alone amidst a plethora of words depicts the vulnerability that a person may feel through the arduous journey of life. The courage and determination required by a person to stand alone, bare, naked is the valuable advice this mother, the narrator of the poem, is determined to pass on to her son.

In conclusion, Langston Hughes' moving poem "Mother to Son" empowers not only the son, but also the reader with precious words of wisdom. Through the skillful use of literary devices such as informal language, symbolism, metaphors, repetition, as well as clever use of format, Hughes manages to muster up the image of a mother lovingly, yet firmly, talking to her son about life. The advice is simple but pertinent to the poetic theme: in order to over come the hurtles of life, a person must possess courage and determination.

M!SS ROZE

29-03-2008, 05:41 AM

الزهرة الخضراء الله يجزاك كل خير غاليتي ويوفقك

ماتصدقين بمساعداتك كم تفكين ازمه فالله فيرج لك كربك

واعذريني لو طلب مرة اخرى وماهو الالضغط الامتحانات علينا

::

قصه بعنوان The leap

اتمنى لو احصل لها خلاصة وشرح عن عناصر القصه فيها

وهي ( الشخصيات , الموضوع . point of view . plot

فجزاكم الله كل خير

والقصه اعلى هذا الرابط وورد وهي قصيرة

http://www.google.com.sa/url?sa=t&ct=res&cd=3&url=http%3A%2F%2Fwww.calvin.edu%2Facademic%2Fengl% 2Fengbers%2F101%2FThe_Leap.doc&ei=Ep7tR57aIIGIwAHt18wQ&usg=AFQjCNHLdN7lRQyyQQYlnahGkKySAvFAQQ&sig2=qWAxHhLaP7bHAHo7LyhcgQ

M!SS ROZE

31-03-2008, 04:42 PM

نسيت ان اذكر اسم صاحب القصه وهي من

Louise Erdrich

ولكم مودتي اعزاءي

StyLe Girl

01-04-2008, 05:21 AM

Personification

.
.

الف شكر لك عزيزتي:smile (40):

ربي يوفقك :girl face (192): و يسعدك ان شاء الله
و يحقق لك كل أمنياتك :small:

و يسهل لك كل درب :small:

:smile (101): الف شكر لك مره ثانية

و باقي قصيده الأول من تحليل :smile (87):

" Elegy written in county chountry church yard "
By : Thomas Gray

اذ ما عليك أمر يا حبيلك :smile (38):

Chic Girl

01-04-2008, 04:19 PM

hi

phz i need help

the characteristics of the restoration period

Chic Girl

01-04-2008, 06:11 PM

" Elegy written in county chountry church yard "
By : Thomas Gray

عندي شرح للقصيدة هذي بأوراق

دخلتها بالسكانر

4 صفحات

وان شاء الله تنفعك

Chic Girl

01-04-2008, 06:28 PM

هنا الأوراق

http://www.saudienglish.net/vb/uploaded/43959_11207059689.jpg

http://www.saudienglish.net/vb/uploaded/43959_11207059791.jpg

http://www.saudienglish.net/vb/uploaded/43959_11207060002.jpg

http://www.saudienglish.net/vb/uploaded/43959_11207060106.jpg

ودعواتك

الزهرة الخضراء

01-04-2008, 08:11 PM

Chic Girl

ماشاء الله عليك ... الله يوفقك ... تعاون رائع ...

Try To Reach

01-04-2008, 09:25 PM

رحم الله والديكم جميعاً

يداً بيد ننجح

الجهود لا تقوم على شخص واحد فقط

وعلى قول المثل ( يد وحده ما تصفق )

الله الله بالتعاون

واعذروني على القطعة

واستروا ما واجهتم

اجمل المنى لكم

reem-6-

01-04-2008, 10:46 PM

StyLe Girl

02-04-2008, 04:19 AM

" Elegy written in county chountry church yard "
By : Thomas Gray

عندي شرح للقصيدة هذي بأوراق

دخلتها بالسكانر

4 صفحات

وان شاء الله تنفعك

يا حبيلك :smile (40):

ربي يوفقك و يسعدك و يخليك :girl face (192):
و يحقق لك كل أمانيتك

و يسهلك لك كل طريق :small:

ما قصرتي :girl face (192):

Chic Girl

03-04-2008, 07:05 PM

):

Chic Girl

ماشاء الله عليك ... الله يوفقك ... تعاون رائع ...

تعاونت باللي اقدر

بس ماحد ساعدني :smile (56):

احتاج :smile (56):

the characteristics of the restoration period

Try To Reach

03-04-2008, 09:31 PM

):

تعاونت باللي اقدر

بس ماحد ساعدني :smile (56):

احتاج :smile (56):

the characteristics of the restoration period

مرحبا اختي

افا ولا يهمك

ولا يتكدر خاطرك الكل بيعطي اللي يقدر عليه

نعم هناك بعض الأعضاء بأمكانهم المساعده لكن نعذرهم لظروفهم وما ندري عن ظروفهم :smile (92):

لكن راح ادلك على الباحث الأكاديمي الذي يوفره موقع Google العظيم

اضغطي هنا (http://scholar.google.com/scholar?q=the+characteristics+of+the+restoration+p eriod&hl=ar&um=1&ie=UTF-8&oi=scholart)

اما بالنسبة لطلبك فأليكِ روابط مباشرة ان شاء الله

الأول
من موقع للأدب الأنجليزي
The Free Library
http://fletcher.thefreelibrary.com/A-History-of-English-Literature/8-1

الثاني
من ويكبيديا
http://en.wikipedia.org/wiki/English_Restoration

الثالث
وهو رابط ممتاز ستجدين طلبك فيه بكل سهولة بأذن الله
http://lib.blcu.edu.cn/per/981/en/e-l-5.htm

ووجدت بعض المواقع الأخرى لكنها مواقع محظورة

وحياك الله يا اميرة
:smile (40):

نعناعه

04-04-2008, 02:39 AM

السلام عليكم

الله يعطيكم العافيه

ابغى ضروري اختباري بكرآ

الاختلاف بين تاريخ اللغه الانجليزي القديم والحديث

من حيث النطق ، الكلمات ، اجزاء الكلام ( الاسماء ، الضمائر ، الافعال ..........

Chic Girl

04-04-2008, 04:42 AM

مشكوووووور اخوي try to reach

مرة مبسوطة الحين لاني غايبة عن المحاظرة ولا ادري وش الطبخة

Try To Reach

04-04-2008, 04:54 AM

حياك الله اختي

Try To Reach

04-04-2008, 05:00 AM

نعناعة

بحثت لكِ في محرك بحث قوقل الأكاديمي

انظري هذه الصفحة

هنـــــــا (http://scholar.google.com/scholar?hl=ar&lr=&q=the+differences+between+old+english+and+modern+e nglish&btnG=%D8%A8%D8%AD%D8%AB%21)

وقد تجدين طلبك بأذن الله في الرابط التالي :

http://en.wikipedia.org/wiki/History_of_english

جمل المنى

ا

مكهربة

04-04-2008, 05:14 PM

بليييييييييييييييييييييز ساعدوني

امتحاني الاسبوع هذا وما ادري ايش اسوي

الدكتورة طلبت منا essay عن مسرحية ماكبيث

كم عدد المرات اللي طلعت فيها الساحرات الثلاثة بالمسرحية؟
كم عدد المرات اللي قابل فيها ماكبيث الساحرات الثلاث؟
ايش تأثير الساحرات الثلاث على المسرحية؟
ايش تأثير الساحرات الثلاث على شخصية ماكبيث؟؟؟؟

طلبت منا إجابات للأسئلة هذي على شكل essay

يخليكم ربي ساعدونييييييييييييي

fona_85

04-04-2008, 05:51 PM

مكهربة

04-04-2008, 06:58 PM

هل من مجيب؟؟؟؟؟؟؟؟؟؟؟

الزهرة الخضراء

05-04-2008, 12:29 AM

Macbeth

The Three Witches
________________

In any work of literature or drama there is usually foreshadowing.

Foreshadow can be defined to be, "a sign of something to come: indicate or

suggest beforehand; prefigure; presage." (Compton's Interactive

Encyclopedia) Playwrights use this technique to give the audience a sense

of what is to come or what exactly is going to happen to a character.

Foreshadowing can be easily detected or it cannot be noticed at all until

the end of the play or story. In Shakespeare's Macbeth, Shakespeare uses

the prophecies of the witches and thoughts of Macbeth himself to foreshadow

within the play. And Macbeth himself detects them somewhat as does the

audience.

In Macbeth, Shakespeare uses the three witches as main sources

foreshadowing. In the play they are conveyed as prophecies. The audience

experiences a little of these prophecies almost immediately in the opening

scene and act of the play. When they talk about meeting Macbeth they say

they will greet him, "when the battle's lost and won." (Shakespeare, pg.1)

And then they yell together, "fair is foul, and foul is fair."(Shakespeare,

pg.1) These two examples foreshadow that some sort of evil will be coming

and that there will also be a victory of sorts, but the audience doesn't

know specifically what yet. These also suggest a great battle is to be

fought against good and evil and the events that follow will unfold at a

rapid pace. This foreshadowing can be detected by the audience because they

can feel the emotion of doom and evil rising.

The actual prophecies given by the witches occur in the third scene

of the first act when they meet Macbeth and Banquo. They greet him with

three titles, "Thane of Glamis," "Thane of Cawdor," and "King hereafter."(

Shakespeare, pg. 5-6) The last two titles are used as foreshadowing for

things to come. Macbeth himself sees them, but as prophecies that might

come true. The title of Thane of Cawdor foreshadows a title that is soon

announced to him in scene four due to the execution of Cawdor. The title

King hereafter foreshadows a title that will cost him more than he knows.

It will be through maddening guilt and evil that will gain him this title.

These examples of foreshadowing show how the character themselves can be

shown the foreshadowing, but not as facts, they see them as prophecies or

predictions that might come true. Later in the scene Macbeth foreshadows

his own fate. He says, "...present fears are less than horrible

imaginings."(Shakespeare, pg8) This foreshadows his own fate in murdering

the king and facing something worse than any battle he has ever fought.

The witches don't meet Macbeth again until act four. During this

meeting with the witches, Macbeth learns three more prophecies that

foreshadow his life to come. These prophecies are an armed head, a bloody

child and the third a child crowned with a tree in his hand. The armed

head tells Macbeth to, "beware Macduff; Beware the thane of

Fife."(Shakespeare, pg. 53) This foreshadows Macbeth's death by Macduff.

The bloody child says, "...for none of woman born shall harm

Macbeth."(Shakespeare, pg.54) This again foreshadows Macbeth's death but

describes Macduff more in detail as the one who kills Macbeth. It is later

revealed that Macduff was not born in natural birth. The third prophecy

tells Macbeth that he will never vanquish until, "Great Birnam wood to high

Dunsinane hill shall come against him."(Shakespeare, 54) This foreshadows

the troops of Malcom using the boughs of the trees of Birnam Wood to

camouflage them while until they are in range to attack. Macbeth doesn't

listen to these foreshadowings or prophecies as seriously as he did the

first. He thinks that they are impossible to happen but the audience knows

that these foreshadow Macbeth's downfall because Shakespeare as a

playwright would not have included them if they weren't foreshadowing the

fall of Macbeth.

In Shakespeare's Macbeth, the three witches are used as prophets

that convey Macbeth's future fate directly to him. Macbeth detects these

foreshadowings not as absolute truths as does the audience but as

predictions that might come true depending on if he thinks they are good or

not. In one instance Macbeth himself even foreshadows his fate but fails

to see or recognize it. The use of these characters in foreshadowing adds

to the "tragedy" of the tragedy. That Macbeth was foreshadowed or

prophesied to commit these acts and die and he knew some and still failed

to see them. This adds to the brilliance of Shakespeare's tragedy, Macbeth.
_______________________
http://www.123helpme.com/view.asp?id=17232

مكهربة

05-04-2008, 12:38 AM

مشكورة الزهرة الخضراء

الله يوفقك دنيا واخرة

الزهرة الخضراء

05-04-2008, 12:38 AM

Macbeth
Witches Influence on Macbeth's Decisions
___________________________________

In the Shakespearean play, "Macbeth," the witches influence on how Macbeth made

his decisions played a crucial part in contributing to his eventual destruction.

The witches were trying to create chaos by prophesying to Macbeth in order to

get him to act. They planted the seed of evil in Macbeth's head that grew to

dominate his mind. But it was Macbeth who made the choices that determined his

fate. He was not forced to kill Duncan nor any of his other victims. But after

he murdered Duncan, Macbeth lost his sanity. The witches were easily able to

control his mind. They made him believe that he was invincible, and then he

willingly continued to fight when he knew that it would mean his doom. Macbeth's

downfall was planned by the weird sisters, but it was Macbeth's own free will

that lead him to it.

The three witches called the weird sisters are the root of the problem that is

the subject for this story. The weird sisters are creators of chaos by nature.

They associate with evil spirits and obey them, and they are followers of the

evil goddess, Hecate. In the play the witches, with their spells, plan the

downfall of Macbeth. They cannot directly harm him themselves, so they tell

Macbeth predictions for his possible future, in order to make him act on them.

The witches tell Macbeth that he will become the thane of Cawdor and then king

of Scotland. They poison his mind with these prophesies, making him greedy and

bringing out the evil qualities in his soul. When the first of the promises is

proven authentic, Macbeth then considers the idea of murdering Duncan for the

first time. This is his first step on the journey to his demise, as the witches

had planned.

The three witches' plan succeeded, they had aroused the greed in Macbeth,

allowing him to make the most important choice of the play - to kill Duncan.

Macbeth does not easily make this decision. In fact, at first he decides against

it, but, with the knowledge that he could be king, he could not help himself

from considering it. After constant persuasion from Lady Macbeth, she and

Macbeth finally made their decision. Lady Macbeth would load Duncan's attendants

with liquor, and then, on Lady Macbeth's signal, Macbeth would creep into

Duncan's chamber and slay him with his servant's weapons. This act surges

Macbeth forward on the direct path to his destruction. Afterwards, when Duncan

is discovered dead, Macbeth kills again when he murders the servants who were

guarding Duncan. Claiming he acted in rage Macbeth kills the servants so that

they cannot bear witness against him. Macbeth's greed had taken control of him

and he could not turn back. It only took the one idea embedded into Macbeth's

head to lead him toward corruption.

After Macbeth grows more sinful and overpowered with greed he does not make any

real attempt to change, and his conscious is bothered by this. Slowly Macbeth

loses grasp of his sanity and self-control. Being consumed with power, Macbeth

lets nothing stand in the way of his reign, because his reign is all that he has

left now. Macbeth's malevolence and deceptiveness are shown further when he

becomes so obsessed with the witches prophesies to his friend, Banquo, that he

decides to hire two men to kill him and his son. It is not long before Macbeth's

own ruthlessness begins to disturb him, greatly. He suffers from troubled sleep,

nightmares and loss of appetite, and he is going insane. At a banquet in his

castle Macbeth envisions Banquo's ghost and gives a terrified reaction in front

of his guests. Also because Macduff does not attend the banquet and flees to

England, Macbeth, in anger, decides to have his family murdered. Later in the

play Macbeth says to Lady Macbeth, "I am in blood / Stepp'd in so far, that,

should I wade no more, / Returning were as tedious as go o'er." This remark

paints the image of Macbeth swimming in a sea of blood, having proceeded so far

that it is easier to continue than to go back. Macbeth has lost hope. With

regret, he feels that he is past the point of no return, he has sinned so

brutally and severely that he is unable to atone for it.

Now that the witches have succeeded in bringing out Macbeth's evil qualities,

they are ready to finish their plot and make sure that Macbeth follows his

destiny to his downfall. With Hecate's guidance, the witches plan to lead

Macbeth to his death by making him feel overconfident. Macbeth goes to seek the

witches in a dark cave. When he finds them, they present him with three

apparitions. The first apparition appears as an armed head that says, "Macbeth!

Macbeth! Macbeth! beware Macduff; / Beware the thane of Fife." The second

apparition is a bloody child that tells Macbeth, "Be bloody, bold, and resolute;

laugh to scorn / The power of man, for none born of woman / Shall harm Macbeth."

Finally the third apparition, in the form of a child with a crown on his head,

holding a tree, tells Macbeth that he "Shall never vanquished be until Great

Birnam wood to high Dunsinane Hill / Shall come against him." Macbeth now feels

assured that he cannot be killed because he assumes that all people are born of

a woman, and it is impossible for a forest to move. He could never have guessed

that the apparitions meant that Macduff did not have a natural birth and that

the English would use trees as camouflage. This false confidence Macbeth was

given was extremely important to allow him to make his final decisions that

resulted in his defeat.

The apparitions made an effect on Macbeth and he acts foolishly because of them.

When he is told that Macduff has fled to England, Macbeth, in fury, orders his

family murdered. This only strengthens Macduff's desire to confront and kill

Macbeth. When Macbeth finally realizes that he has been deceived by the witches

his overconfidence turns into arrogance. A messenger reports to Macbeth that it

appears that Birnam Wood is moving toward Dunsinane, as the apparitions had

warned Macbeth it would. But Macbeth now is too determined to fight than to

retreat, so he orders his soldiers to attack. On the battlefield he feels

trapped. But at the same time however, he clings to the prophesy that he cannot

by killed by anyone born of a woman. When Macbeth is finally confronted by

Macduff, Macduff explains that he was delivered by caesarian section and thus,

technically, not born. Now Macbeth fully understands the deception of the

witches and realizes that he destined to die here. But when he is given the

chance to live he does not take it, he would rather die than live in shame. By

free will, despite knowing that he would probably die, Macbeth fights Macduff,

and is slain.

It was Macbeth's free will, with the influence of the witches prophesies that

determined his destiny. Macbeth chose to kill Duncan, chose to kill his servants,

Banquo, and Macduff's family, and chose to fight to his death. And he was not

forced to do so, he took each step on the path to his destruction by choice.

Even though Macbeth seemed to have a predetermined fate, I don't think that he

was bound to it. I think he could have chosen to break away from the direction

he was heading at anytime, but just simply did not have the willpower.
___________________________________
http://www.123helpme.com/view.asp?id=17245

reem-6-

05-04-2008, 01:00 AM

الزهرة الخضراء

05-04-2008, 01:06 AM

السلام عليكم ورحمة الله وبركاته
انا مستوى اول والدكتوره طالبة نكتب 6 اسطر لكل موضوع من الموضوعات التاليةاحدث لي عن
1)an experience from your childhood
2)a memory of a family member(mother,grandfather, cousin,etc
3) something unusual that your family used to do
4) your first day of school or your first job
5) a memory of a teacher from elementary school
6) an experience that changed your life

الله يجزاكم خير المذكرات تكون مبسطة وسهله>>>الدكتورة تقول المذكرات والأحداث ممكن حزينه اوسعيدة..الله يجزاكم خير عندي السبت

وينكم

عزيزتي ريم ...

اتوقع طلب الدكتورة بسيط ... 6 اسطر مقدور عليها ... المشكله ان المواضيع كلها مواضيع شخصية ... تجارب وذكريات شخصية وعائلية ... انا رأيي انك تكتبين المقالات وتنزلينهم هنا ونقوم نحن بالتصحيح ... الله يوفقك ...

الزهرة الخضراء

05-04-2008, 02:16 AM

ريم

ممكن المقال التالي يساعدك ...

The First Day (http://www.123helpme.com/view.asp?id=17325)

مكهربة

05-04-2008, 07:02 PM

ألف شكر الزهرة الخضراء

yo00oh

06-04-2008, 02:03 AM

مرحبااااااااااااا

بلييييييييز ممكن حد يترجم لي هالqoutations

that we but teach
Bloody instructions,which,being taught return
To plauge the inventor; thin even handed justice
Commends the ingredients of our poisoned chalice
To our own lips."
Willam Shakespear, Macbeth

They that have the power to hurt and will do none,
That do not do the thing they most do show,
Who,moving others, are themselves as stone,
Unmoved,cold, and to temptation slow,
They rightly do inherit heaven's graces...
Willam Shakspear, Sonnet 94

الزهرة الخضراء

06-04-2008, 02:30 AM

...that we but teach
Bloody instructions, which, being taught, return
To plague the inventor.

i.e., he who kills a king to gain the throne teaches his bloody method to others -- a method that will return to hurt the one who first decided to commit regicide. Macbeth knows that if he murders the king to gain the crown, another, hungry for power, will surely do the same to him when he becomes king.

==============================================

"They that have power to hurt and will do none / That do not do the thing they most do show,"
Those who have the ability to hurt but choose not to, who do not use that power even though they look most certain of having it,

"Who, moving others, are themselves as stone / Unmoved, cold, and to temptation slow,"
Who, when moving others, are themselves still, unmoved, emotionally cold, and slow to temptation,

"They rightly do inherit heaven's graces / And husband nature's riches from expense;"
It is they who rightly inherit heaven's graces and spare nature's riches from ruin;

"They are the lords and owners of their faces / Others but stewards of their excellence."
They can control their facial expressions (thoughts and emotions), while others merely serve their emotions.

"The summer's flower is to the summer sweet / Though to itself it only live and die,"
The summer flower is sweet to the summer, though the flower lives and dies only for itself;

"But if that flower with base infection meet / The basest weed outbraves his dignity:"
But if that flower should develop an awful infection, the worst weed would outshine the flower in dignity:

"For sweetest things turn sourest by their deeds; / Lilies that fester smell far worse than weeds."
For it is those things that are sweetest that can become sourest by their deeds; lilies that rot smell far worse than weeds.
__________________________________________________ ___________
http://www.gradesaver.com/classicnotes/titles/shakespeare/section12.html

yo00oh

06-04-2008, 05:44 PM

الزهرة الخضراء يعطيك ربي ألف عافية

بس ممكن تترجمين الquotations للعربي بلييييييييييييييييز

الزهرة الخضراء

06-04-2008, 10:37 PM

yo00oh ... اعتذر منك ... نحن هنا نساعد لكن لانحل واجبات الطلاب ...

السالفه سهله ... امسكي القصيدة وترجميها بيت بيت ... والأسهل لك انك تترجمين المعنى اللي عطيتك اياه ...

يعني ... هذي البيتين مثلاً ترجمي معناهم اللي تحتهم مباشرة ...
They that have power to hurt and will do none / That do not do the thing they most do show,"
Those who have the ability to hurt but choose not to, who do not use that power even though they look most certain of having it,

وتفضلي موقعين ممكن يساعدونك في الكلمات الصعبة ...
http://www.google.com/translate_t
http://qamoos.sakhr.com/

بالتوفيق ...

M!SS ROZE

07-04-2008, 04:46 AM

reem-6-

08-04-2008, 03:12 PM

جزاك الله خير أختي الزهرة الخضراء
مشكوووووووووورة على المساعدة

جنة الخلود

10-04-2008, 02:20 PM

السلاااام عليكم خواتي

طلبتكم تكفون لاتردوني

محتاجه شرح وتعليق مع الخلاصه والكلمات الصعبه وكلشي يخص هاي القصيده

THE LAMB bY WILLIAM BLACK

الله يجزااكم الجنه خوااااتي

Try To Reach

10-04-2008, 04:37 PM

fona_85

10-04-2008, 05:45 PM

السلاااام عليكم خواتي

طلبتكم تكفون لاتردوني

محتاجه شرح وتعليق مع الخلاصه والكلمات الصعبه وكلشي يخص هاي القصيده

THE LAMB bY WILLIAM BLACK

الله يجزااكم الجنه خوااااتي

Summary
The poem begins with the question, "Little Lamb, who made thee?" The speaker, a child, asks the lamb about its origins: how it came into being, how it acquired its particular manner of feeding, its "clothing" of wool, its "tender voice." In the next stanza, the speaker attempts a riddling answer to his own question: the lamb was made by one who "calls himself a Lamb," one who resembles in his gentleness both the child and the lamb. The poem ends with the child bestowing a blessing on the lamb.
Form
"The Lamb" has two stanzas, each containing five rhymed couplets. Repetition in the first and last couplet of each stanza makes these lines into a refrain, and helps to give the poem its song-like quality. The flowing l's and soft vowel sounds contribute to this effect, and also suggest the bleating of a lamb or the lisping character of a child's chant.
Commentary
The poem is a child's song, in the form of a question and answer. The first stanza is rural and descriptive, while the second focuses on abstract spiritual matters and contains explanation and analogy. The child's question is both naive and profound. The question ("who made thee?") is a simple one, and yet the child is also tapping into the deep and timeless questions that all human beings have, about their own origins and the nature of creation. The poem's apostrophic form contributes to the effect of naiveté, since the situation of a child talking to an animal is a believable one, and not simply a literary contrivance. Yet by answering his own question, the child converts it into a rhetorical one, thus counteracting the initial spontaneous sense of the poem. The answer is presented as a puzzle or riddle, and even though it is an easy one--child's play--this also contributes to an underlying sense of ironic knowingness or artifice in the poem. The child's answer, however, reveals his confidence in his simple Christian faith and his innocent acceptance of its teachings.
The lamb of course symbolizes Jesus. The traditional image of Jesus as a lamb underscores the Christian values of gentleness, meekness, and peace. The image of the child is also associated with Jesus: in the Gospel, Jesus displays a special solicitude for children, and the Bible's depiction of Jesus in his childhood shows him as guileless and vulnerable. These are also the characteristics from which the child-speaker approaches the ideas of nature and of God. This poem, like many of the Songs of Innocence, accepts what Blake saw as the more positive aspects of conventional Christian belief. But it does not provide a completely adequate doctrine, because it fails to account for the presence of suffering and evil in the world. The pendant (or companion) poem to this one, found in the Songs of Experience, is "The Tyger"; taken together, the two poems give a perspective on religion that includes the good and clear as well as the terrible and inscrutable. These poems complement each other to produce a fuller account than either offers independently. They offer a good instance of how Blake himself stands somewhere outside the perspectives of innocence and experience he projects.

Analysis of The Lamb
A lamb is a gentle and meek creature that is both daring and submissive. A lamb is very much like a child. In ?The Lamb,? William Blake creates a childlike tone through a very songlike form and structure. What this does is give the poem an innocent view, more in the first stanza than in the second. Through the use of apostrophe, the entire poem being an apostrophe, William Blake attributes human qualities to a lamb, the lamb being the listener, the child being the speaker. Throughout the entire poem the lamb and the child are interchangeable, the child is a lamb, the lamb is a child, it?s a metaphor that extends throughout the poem.
William Blake uses symbolic language to create extended metaphors about the lamb. He talks about the creator of the lamb giving it ?clothing of delight.? Delight is obviously not a

. . .
It shows the whole connectedness of all things, it connects it all with the creator, the lamb, Jesus, through the use of the extended metaphor. He tells him how Jesus was just like a lamb, using symbolic language, comparing Jesus to a child. This creates a third connection, a child is like a lamb, Jesus is like a child. ?

This poem is an apostrophe as a whole. The child is saying that he and the lamb were created by the same being, but it also implies that ALL things were created by the same being. In the second stanza the child is almost reciting what he has learned in Sunday school. The creator gave the lamb, or the child, delight and happiness. Jesus was like a child, for he loved children.

?I a child & thou a lamb,? with this sentence William Blake connects all things to Jesus the creator. In historical context, the biblical figure Jesus referred to himself as the lamb. That single line has a deeper connotation than it seems. There is also somewhat of a riddle that occurs when the child answers his own question to the lamb. ? Children are known for their gentle voices, lambs are not.

اتمنى اني افدتك

دعواتك

جنة الخلود

11-04-2008, 03:07 PM

فونا.... مااني عاارفه بأيش اجازيك غير بدعوتي لك با التوفيق

الله يجزاااك الف خير اختي

fona_85

11-04-2008, 03:40 PM

اجمعين جنة الخلود

شاكره لك دعواتك الطيبه :)

MS.English

11-04-2008, 03:55 PM

إذا سمحت أو إذا سمحتي
أبغى أخر البرامج التي تساعد للمحادثة بالenglish

وأكون شاكرة جداً
pieassssssssssssssssssssssssssssssssssssssssssssss ss

:smile (23)::smile (53)::girl face (200):

yo00oh

13-04-2008, 12:42 PM

هاي

بليز حاولت أبحث عن معني كلمة (GRAVITAS ) بالعربي و ما حصلتها ...!!! بليز اللي عنده اي معلومة يخبرني

ThankS

الزهرة الخضراء

14-04-2008, 07:52 AM

إذا سمحت أو إذا سمحتي
أبغى أخر البرامج التي تساعد للمحادثة بالenglish

هذا القسم مخصص للأدب الإنجليزي ومادمتي تبحثي عن مايخص المحادثة باللغة الإنجليزية فالأفضل انك تضعي طلبك في قسم اللغويات من هنــــ ـااا (http://www.saudienglish.net/vb/forumdisplay.php?f=55)

الزهرة الخضراء

14-04-2008, 08:17 AM

هاي

بليز حاولت أبحث عن معني كلمة (GRAVITAS ) بالعربي و ما حصلتها ...!!! بليز اللي عنده اي معلومة يخبرني

ThankS

طلبك المفروض مكانه في قسم الترجمة ...
عموماً الكلمة لاتينية الأصل وتعني نوعية المضمون او عمق شخصية ...
http://en.wikipedia.org/wiki/Gravitas

وفي قاموس اكسفورد ...
ORIGIN - Latin, from gravis - serious

yo00oh خلينا نشوفك بغير وقت الطلب ^_^

الزهرة الخضراء

14-04-2008, 08:56 AM

الزهرة الخضراء

بيض الله وجهك اختي

مشكورة وماقصرتي

ورحم الله والديكي يا اميرة

وانا اهيب بالأعضاء الذين يسجلون في المنتدى فقط لكتابة طلبهم الأوحد ويذهبون

هذه مضيعة لنا ولهم !

وجزى الله الجميع خير الجزاء

وبيض الله وجهك وعافاك من كل شر ورحم الله والدينا ووالديك يا ابو انس ...
جزاك الله خير على الدعوات الطيبة ...

والله كلامك صحيح ... وانا اتوقع ان البعض يسجل عضوية كل ماكان محتاج لطلب ... لأنه غالبا بينسى ايش كان اسمه المستعار سابقاً ... الله يهديهم ... منتديات المرحلة الجامعية باقي شوي وتصير منتديات الطلبات المجانية ... ووالله اننا نحب نساعد باللي نقدر عليه فقد قال رسولنا الكريم عليه افضل الصلاة والتسليم (الله في عون العبد ما كان العبد في عون أخيه ) ... لكن نتمنى نشوف منهم تفاعل وتعاون في الموقع ... بل ان البعض يستكثر كلمة "شكراً" ...
(من لم يشكر القليل لم يشكر الكثير ، ومن لم يشكر الناس لم يشكر الله ... ) ...

روح العطاء

14-04-2008, 06:18 PM

عساكم عالقووه يارب

طيب ممكن طلب

ابغى بالانجليزي كتابه بسيطه عن لعبة الشطرنج ..

ممكن؟

fona_85

14-04-2008, 07:00 PM

عساكم عالقووه يارب

طيب ممكن طلب

ابغى بالانجليزي كتابه بسيطه عن لعبة الشطرنج ..

ممكن؟

Chess is a recreational and competitive game played between two players. Sometimes called Western chess or international chess to distinguish it from its predecessors and other chess variants, the current form of the game emerged in Southern Europe during the second half of the 15th century after evolving from similar, much older games of Indian and Persian origin. Today, chess is one of the world's most popular games, played by millions of people worldwide in clubs, online, by correspondence, in tournaments and informally.

The game is played on a square chequered chessboard with 64 squares arranged in an eight-by-eight square. At the start, each player (one controlling the white pieces, the other controlling the black pieces) controls sixteen pieces: one king, one queen, two rooks, two knights, two bishops, and eight pawns. The object of the game is to checkmate the opponent's king, whereby the king is under immediate attack (in "check") and there is no way to remove it from attack on the next move.

The tradition of organized competitive chess started in the sixteenth century and has developed extensively. Chess today is a recognized sport of the International Olympic Committee. The first official World Chess Champion, Wilhelm Steinitz, claimed his title in 1886; Viswanathan Anand is the current World Champion. Theoreticians have developed extensive chess strategies and tactics since the game's inception. Aspects of art are found in chess composition.

One of the goals of early computer scientists was to create a chess-playing machine, and today's chess is deeply influenced by the abilities of current chess programs and by the possibility to play online. In 1996, a match between Garry Kasparov, then World Champion, and a computer proved for the first time that machines are able to beat even the strongest human players.

روح العطاء

15-04-2008, 02:36 AM

تسلميييين فوناااا ماقصرتي ياغلاهم

بس ماعندك خلفيه عن الشطرنج هل هي اكتشاف فرعوني؟ اي من الحضاره الفرعونيه قبل ان يطورها الاروبيين؟

fona_85

16-04-2008, 03:54 PM

تسلميييين فوناااا ماقصرتي ياغلاهم

بس ماعندك خلفيه عن الشطرنج هل هي اكتشاف فرعوني؟ اي من الحضاره الفرعونيه قبل ان يطورها الاروبيين؟

الله يسلمك روح العطاء

سويت بحث عالموضوع ومعظم الاراء قالت انها غير معروفة الاصل ولكنها وجدت في البداية عند الهنود واخذها منهم الفرس
وهنا مقاطع من هالكلام يمكن يفيدك اكثر

The game of Chess has been attributed to the Indians both by the Persian people and by the Arabs.[1] However, the origin of the game remains lost in antiquity.[2] The words for chess in Old Persian and Arabic are chatrang and shatranj respectively — terms derived from chaturanga in Sanskrit,[3] which literally means an army of four divisions.[4]

The most widely accepted scenario is that chess appeared in India around 600 A.D., was adopted in Persia around 700 A.D., and was absorbed by Arab culture around 800 A.D. Just as chess is a difficult game, its origin is a difficult puzzle. We may never know the truth of its birth.

The historical origins are not clear - some historians see India as the place of origin of this world-wide known game though others think that it originated from China.

منتظرين مشاركاتك اختي الغالية
دعواتك

روح العطاء

16-04-2008, 09:22 PM

بعد قلبي والله ماقصرتي افدتيني كثير ...

دمتي بسعاده..

فيونكة الحلوة

17-04-2008, 03:34 PM

اذا ممكن تحليل مسرحية the dear departed
للكاتب stanley

سامره

19-04-2008, 10:12 PM

بلييييييييييييز ساعدوني الله يعطيكم العافيه...
ابي
write a detailed note on the expositon of"Where Angles fear to tread"

تكفووون طالبتكم..؟؟

فيونكة الحلوة

21-04-2008, 04:19 AM

اذا ممكن تحليل مسرحية the dear departed
للكاتب stanley

happy girl

23-04-2008, 05:26 PM

الزهرة الخضراء

23-04-2008, 09:39 PM

الله يعافيكم ابي مفهوم مسرحيه every man
بالعربي مافهمتها :smile (92):

تكفوووووووووو والله امتحاني السبت :guy face (62):

واهم شخصيه في المسرحيه(طبعا بالانجلش) وكمان الحبكه

:smile (97)::smile (97):

ماحصلتلك باللغة العربية غير التالي:

لدينا العديد من المسرحيات الأخلاقية وخير مثال نجده في مسرحية (Everyman)، أي (جميع البشر)، التي كتبت في نهاية القرن الخامس عشر(5). وتمثل هذه المسرحية مصير بني البشر حين يداهمهم الموت حيث لا ينفعهم لا مال ولا أصدقاء بل أعمالهم الصالحة فقط. وتكمن أهمية هذه المسرحية في رسالتها التعليمية التي تنقلها شخصيات رمزية (أليغورية)، أي أن أسماءها تدل على أفعالها. وعلى الرغم من جديتها في وعظها فقد احتوت المسرحية الأخلاقية على شخصية الشرير (the Vice) وشخصية الشيطان (the Devil)، وجل همهما دب الفتنة والعداء بين الآخرين.‏
_______________________

حاولي تترجمين ملخص المسرحية ...
Synopsis Of EVERYMAN:

This morality play seeks to answer the important religious question: "What must a man do to be saved?" God sends Death to summon Everyman, who represents all mankind. Good and Evil will be tallied like pluses and minuses in an account book. The play is the story of Everyman's journey to this final reckoning. Along the way, Everyman tries to convince other characters to accompany him in the hope of improving his account. The other characters are also allegorical; that is, each character personifies an abstract idea. The conflict between good and evil is dramatized by the interactions between characters. The play shows us not only how every man should meet death but also how every man should live.

Everyman is a dramatized allegory. An allegory is a narrative in which the characters and action, and sometimes the setting as well, have two levels of meaning. The first level is literal -- a man is going on a trip. The second level is symbolic -- Everyman's life is a journey from birth to death, and every man makes this same trip. An allegory must make sense at both levels. All of the literal pieces will fit together to tell a story -- what happens. In addition, all of the symbolic pieces will fit together to teach a moral -- what the story means.

For example, John Bunyan's Pilgrim's Progress is an allegory teaching the doctrines of Christian salvation. The hero, named Christian, is warned by Evangelist to flee the City of Destruction and seek the Celestial City. En route Christian encounters such characters as Faithful, the Giant Despair, and Mr. Worldly Wiseman. He passes through places like the Slough of Despond, the Valley of the Shadow of Death, and Vanity Fair. On the literal level, this is an exciting adventure story. On the symbolic level, however, each adventure also teaches a moral lesson.
_____________________________

الشخصيات الرئيسية:
Everyman: Typical human being who has neglected his spiritual life but repents his sins in time to be saved.
God: Just but merciful Supreme Being.
Death: Messenger commanded by God to summon Everyman.
Fellowship, Kindred, Cousin, Material Goods: Earthly acquaintances of Everyman who abandon him in his time of need.
Good Deeds: The only friend willing to accompany Everyman to the afterlife.
Knowledge: Character that tells Everyman what he must do to obtain salvation.
Confession: Character representing the sacrament of penance. Everyman confesses his sins to this character.
Discretion, Strength, Everyman's Five Wits, Beauty: Earthly acquaintances of Everyman who abandon him in his time of need.
Angel: Creature that welcomes Everyman to the celestial realm.

Angel

The Angel appears briefly at the play's conclusion to accept Everyman into God's domain. Because of his virtue, Everyman will be accepted immediately into heaven with God.

Beauty

Beauty is one of the companions that Everyman calls forth to accompany him for part of his journey to God. And while beauty can offer some comfort to Everyman, it is the first to depart when man begins the final journey to death. Confession

Knowledge leads Everyman to Confession. Confession represents man's best opportunity for salvation, since acknowledging Everyman's sins and asking God for forgiveness is an important element of Catholicism. Although Knowledge can accompany Everyman part way on his journey, Knowledge cannot complete the journey with him.

http://www.cummingsstudyguides.net/Guides3/Everyman.html
________________________________________________

صدى الوجدان

24-04-2008, 12:07 PM

لسلام عليكم اريد تعبيرا عن
descriptive aperson or place
please help u

soft g!rl

24-04-2008, 07:47 PM

السلام عليكمــــــ

يعطيكم العافيه يارب

الله يعافيكم انا سنه اولى انقليش

وطلب منا الدكتور بحث وهو عن قصيده وطلب الشرح لكل بيت ونستخرج الفوكابليري والتشخيص والجناس والتشبيه

فياليت اللي يقدر يشرحها لي اذا ممكن

هذي القصيده

A NOISELESS PATIENT SPIDER

by Walt Whitman

A noiseless patient spider,
I mark'd where on a little promontory it stood isolated,
Mark'd how to explore the vacant vast surrounding,
It launch'd forth filament, filament, filament, out of itself,
Ever unreeling them, ever tirelessly speeding them.

And you O my soul where you stand,
Surrounded, detached, in measureless oceans of space,
Ceaselessly musing, venturing, throwing, seeking the spheres to connect them,
Till the bridge you will need be formed, till the ductile anchor hold,
Till the gossamer thread you fling catch somewhere, O my soul.

اتمنى ان تكون على يوم الاحد...

سلمك الباري وحفظكم اينما كنتم

صادق ودي للجميع

منول؟؟؟

24-04-2008, 09:12 PM

السلام عليكم ورحمة الله وبركاتهبلييييز الدكتور طالب منا outline عن اى مسرحيه او مثلا انا اخترت( macbeth)
بليز ساعدوني او اذا كان تقدرون توصلوني لأي موقع استفيد منه وشكــــــــــــــــــــــ ــــــــــــــرا

parkle

25-04-2008, 11:25 AM

السلام عليكم ورحمة الله وبركاته
هاي بليز ياليت تساعدوني هذي اول مره اطلب لاني تو اكتشفت ان فيه قسم للادب
والله محتاجه اي عن روايه اسمها
the Old Wives Tale by Arnold Bennettاو اي ترجمه راح اختبرها الاسبوع الجاي ولا اعرف فيها اي شي ومرة طويله ومبتلشه بالتطبيق
note about the characters, theme ,setting ,plot
وياليت اذا فيه اي نوت عن مسرحيه the rivals ياليت ما تبخلون علي
الله يوفقكم ويفتحها بوجهكم

parkle

25-04-2008, 02:42 PM

السلام عليكم ورحمة الله وبركاته هلا منول هذي الحبكه لمسرحيه ماكبث مررره حلوه المسرحيه ولها ترجمه راح تلقينها بالعبيكان وفيه موقع مررره حلو بتليقن الشخصيات والثيم و تحليل واشياء كثيره الموقع هو http://www.sparknotes.com وفيه موقع ثاني حلو http://www.cliffsnotes.com
Plot Overview
The play begins with the brief appearance of a trio of witches and then moves to a military camp, where the Scottish King Duncan hears the news that his generals, Macbeth and Banquo, have defeated two separate invading armies—one from Ireland, led by the rebel Macdonald, and one from Norway. Following their pitched battle with these enemy forces, Macbeth and Banquo encounter the witches as they cross a moor. The witches prophesy that Macbeth will be made thane (a rank of Scottish nobility) of Cawdor and eventually king of Scotland. They also prophesy that Macbeth’s companion, Banquo, will beget a line of Scottish kings, although Banquo will never be king himself. The witches vanish, and Macbeth and Banquo treat their prophecies skeptically until some of King Duncan’s men come to thank the two generals for their victories in battle and to tell Macbeth that he has indeed been named thane of Cawdor. The previous thane betrayed Scotland by fighting for the Norwegians and Duncan has condemned him to death. Macbeth is intrigued by the possibility that the remainder of the witches’ prophecy—that he will be crowned king—might be true, but he is uncertain what to expect. He visits with King Duncan, and they plan to dine together at Inverness, Macbeth’s castle, that night. Macbeth writes ahead to his wife, Lady Macbeth, telling her all that has happened.

Lady Macbeth suffers none of her husband’s uncertainty. She desires the kingship for him and wants him to murder Duncan in order to obtain it. When Macbeth arrives at Inverness, she overrides all of her husband’s objections and persuades him to kill the king that very night. He and Lady Macbeth plan to get Duncan’s two chamberlains drunk so they will black out; the next morning they will blame the murder on the chamberlains, who will be defenseless, as they will remember nothing. While Duncan is asleep, Macbeth stabs him, despite his doubts and a number of supernatural portents, including a vision of a bloody dagger. When Duncan’s death is discovered the next morning, Macbeth kills the chamberlains—ostensibly out of rage at their crime—and easily assumes the kingship. Duncan’s sons Malcolm and Donalbain flee to England and Ireland, respectively, fearing that whoever killed Duncan desires their demise as well.
Fearful of the witches’ prophecy that Banquo’s heirs will seize the throne, Macbeth hires a group of murderers to kill Banquo and his son Fleance. They ambush Banquo on his way to a royal feast, but they fail to kill Fleance, who escapes into the night. Macbeth becomes furious: as long as Fleance is alive, he fears that his power remains insecure. At the feast that night, Banquo’s ghost visits Macbeth. When he sees the ghost, Macbeth raves fearfully, startling his guests, who include most of the great Scottish nobility. Lady Macbeth tries to neutralize the damage, but Macbeth’s kingship incites increasing resistance from his nobles and subjects. Frightened, Macbeth goes to visit the witches in their cavern. There, they show him a sequence of demons and spirits who present him with further prophecies: he must beware of Macduff, a Scottish nobleman who opposed Macbeth’s accession to the throne; he is incapable of being harmed by any man born of woman; and he will be safe until Birnam Wood comes to Dunsinane Castle. Macbeth is relieved and feels secure, because he knows that all men are born of women and that forests cannot move. When he learns that Macduff has fled to England to join Malcolm, Macbeth orders that Macduff’s castle be seized and, most cruelly, that Lady Macduff and her children be murdered.
When news of his family’s execution reaches Macduff in England, he is stricken with grief and vows revenge. Prince Malcolm, Duncan’s son, has succeeded in raising an army in England, and Macduff joins him as he rides to Scotland to challenge Macbeth’s forces. The invasion has the support of the Scottish nobles, who are appalled and frightened by Macbeth’s tyrannical and murderous behavior. Lady Macbeth, meanwhile, becomes plagued with fits of sleepwalking in which she bemoans what she believes to be bloodstains on her hands. Before Macbeth’s opponents arrive, Macbeth receives news that she has killed herself, causing him to sink into a deep and pessimistic despair. Nevertheless, he awaits the English and fortifies Dunsinane, to which he seems to have withdrawn in order to defend himself, certain that the witches’ prophecies guarantee his invincibility. He is struck numb with fear, however, when he learns that the English army is advancing on Dunsinane shielded with boughs cut from Birnam Wood. Birnam Wood is indeed coming to Dunsinane, fulfilling half of the witches’ prophecy.
In the battle, Macbeth hews violently, but the English forces gradually overwhelm his army and castle. On the battlefield, Macbeth encounters the vengeful Macduff, who declares that he was not “of woman born” but was instead “untimely ripped” from his mother’s womb (what we now call birth by cesarean section). Though he realizes that he is doomed, Macbeth continues to fight until Macduff kills and beheads him. Malcolm, now the king of Scotland, declares his benevolent intentions for the country and invites all to see him crowned at Scone

لاتنسيني من دعواتك الحلوه بالشفاء .:small:

منول؟؟؟

25-04-2008, 03:01 PM

وعليكم السلام ورحمة الله وبركاته
مشكوورة أختىparkle
بارك الله فيك وجزاك الله كل خير

parkle

25-04-2008, 03:59 PM

:girl face (192):هلا منوله العفو حبيبتي امري بس ولا يردك الا لسانك وانا تحت الخدمه على االلي اقدر عليه

فيونكة الحلوة

26-04-2008, 12:53 AM

اذا ممكن تحليل مسرحية the dear departed
للكاتب stanley

soft g!rl

26-04-2008, 09:27 PM

سلاش عسل

26-04-2008, 11:21 PM

السلام عليكم ..

لو سمحتوا سااااااااعدوني تكفون :

الله يعافيكم أبي شرح لهذه القصيده ضرووووووووري اختباري الاسبوع الجاي :(

We are seven -

سلاش عسل

27-04-2008, 01:43 AM

اذا ممكن تحليل مسرحية the dear departed
للكاتب stanley

أسمحي لي أصف جنبك لاني أبيها :smile (92)::smile (97):

ننتظـــــــــــــــــــــ ـــــــــــــــر المساعده :smile (56):

سلاش عسل

27-04-2008, 02:12 AM

parkle

27-04-2008, 02:51 PM

السلام عليكم ورحمة الله وبركاته:smile (92):
هاي وينكم بليز انا عندي اختبار the old wives tale روايه (ماحصلت عليها شي )
والله محتاجه اthe Old Wives Tale by Arnold Bennettاو اي ترجمه راح اختبرها السبت ولا اعرف فيها اي شي ومرة طويله ومبتلشه بالتطبيق
note about the characters, theme ,setting ,plot

الله يوفقكم ويفتحها بوجهكم :smile (56):

الزهرة الخضراء

27-04-2008, 03:05 PM

لو سمحتوا ابي شرح لـ 2 Stanza السادس والثامن

من قصيدة Elegy written in a country churchyard

ساعدوني الله يعافيكم ويجعله في ميزان حسناااااااااااااااااااااا ااااااااااااااتكم يارب

Poem Summary

Lines 1-4

In the first stanza, the speaker observes the signs of a country day drawing to a close: a curfew bell ringing, a herd of cattle moving across the pasture, and a farm laborer returning home. The speaker is then left alone to contemplate the isolated rural scene. The first line of the poem sets a distinctly somber tone: the curfew bell does not simply ring; it “knells” — a term usually applied to bells rung at a death or funeral. From the start, then, Gray reminds us of human mortality.

Lines 5-8

The second stanza sustains the somber tone of the first: the speaker is not mournful, but pensive, as he describes the peaceful landscape that surrounds him. Even the air is characterized as having a “solemn stillness.”

Lines 9-12

The sound of an owl hooting intrudes upon the evening quiet. We are told that the owl “complains”; in this context, the word does not mean “to whine” or “grumble,” but “to express sorrow.” The owl’s call, then, is suggestive of grief. Note that at no point in these three opening stanzas does Gray directly refer to death or a funeral; rather, he indirectly creates a funereal atmosphere by describing just a few mournful sounds.

Lines 13-16

It is in the fourth stanza that the speaker directly draws our attention to the graves in the country churchyard. We are presented with two potentially conflicting images of death. Line 14 describes the heaps of earth surrounding the graves; in order to dig a grave, the earth must necessarily be disrupted. Note that the syntax of this line is slightly confusing. We would expect this sentence to read “Where the turf heaves” — not “where heaves the turf”: Gray has inverted the word order. Just as the earth has been disrupted, the syntax imitates the way in which the earth has been disrupted. But by the same token, the “rude Forefathers” buried beneath the earth seem entirely at peace: we are told that they are laid in “cells,” a term which reminds us of the quiet of a monastery, and that they “sleep.”

Lines 17-20

If the “Forefathers” are sleeping, however, the speaker reminds us that they will never again rise from their “beds” to hear the pleasurable sounds of country life that the living do. The term “lowly beds” describes not only the unpretentious graves in which the forefathers are buried, but the humble conditions that they endured when they were alive.

Lines 21-24

The speaker then moves on to consider some of the other pleasures the dead will no longer enjoy: the happiness of home, wife, and children.

Lines 25-28

The dead will also no longer be able to enjoy the pleasures of work, of plowing the fields each day. This stanza points to the way in which the “Elegy Written in a Country Churchyard” contains elements of both Augustan and Romantic poetry. Poetry that describes agriculture — as this one does — is called georgic. Georgic verse was extremely popular in the eighteenth century. Note, however, that Gray closely identifies the farmers with the land that they work. This association of man and nature is suggestive of a romantic attitude. The georgic elements of the stanza almost demand that we characterize it as typical of the eighteenth century, but its tone looks forward to the Romantic period.

Lines 29-32

The next four stanzas caution those who are wealthy and powerful not to look down on the poor. These lines warn the reader not to slight the “obscure” “destiny” of the poor — the fact that they will never be famous or have long histories, or “annals,” written about them.

Lines 33-36

This stanza invokes the idea of memento mori (literally, a reminder of mortality). The speaker reminds the reader that regardless of social position, beauty, or wealth, all must eventually die.

Lines 37-40

The speaker also challenges the reader not to look down on the poor for having modest, simple graves. He suggests, moreover, that the elaborate memorials that adorn the graves of the “Proud” are somehow excessive. In this context, the word “fretted” in line 39 has a double meaning: on the one hand, it can refer to the design on a cathedral ceiling; on the other hand, it can suggest that there is something “fretful,” or troublesome, about the extravagant memorials of the wealthy.

Lines 41-44

The speaker observes that nothing can bring the dead back to life, and that all the advantages that the wealthy had in life are useless in the face of death. Neither elaborate funeral monuments nor impressive honors can restore life. Nor can flattery in some way be used to change the mind of death. Note here Gray’s use of personification in characterizing both “flattery” and “death” — as though death has a will or mind of its own.

Lines 45-48

The speaker then reconsiders the poor people buried in the churchyard. He wonders what great deeds they might have accomplished had they been given the opportunity: one of these poor farmers, the speaker reasons, might have been a great emperor; another might have “waked the living lyre,” or been a great poet or musician.

Lines 49-52

The poor were never able to fulfill their political and artistic potential, however, because they were uneducated — they never received the “Knowledge” that would enable them to rule and to create. Instead, “Penury,” or poverty, “froze the genial current of their soul.” That is, poverty paralyzed their ability to draw upon their innermost passions — the very passions that could have inspired them to become great poets or politicians.

Lines 53-56

In a series of analogies, Gray observes that the talents of the poor are like a “gem” hidden in the ocean or a “flower” blooming in the desert. Just as an unseen flower in the desert is a “waste,” Gray suggests, the uneducated talents of the poor are also a “waste,” because they remain unused and undeveloped.

Lines 57-60

The speaker then compares these poor, uneducated people to three of the most famous and powerful people of the previous century: John Hampden, a parliamentary leader who defended the people against the abuses of Charles I; John Milton, the great poet who wrote Paradise Lost and who also opposed Charles I; and Oliver Cromwell, Lord Protector of England from 1653 to 1658. The speaker suggests that buried in this churchyard might be someone who — like Hampden, Milton, or Cromwell — had the innate ability to oppose tyranny, but never had the opportunity to exercise that ability.

Lines 61-64

This person, the speaker reasons, with the proper education and resources, might have “commanded” the government as well as any great political leader. Note, however, that Gray gives us two ways in which to consider this power. On the one hand, a great ruler can receive applause and can ignore “threats of pain and ruin.” A great leader can “scatter plenty,” can offer prosperity, to a grateful nation. But on the other hand, if one governs, one is, in fact, exposed to dangerous threats. And simply governing to receive “applause” suggests a shallow and self-serving motive. Moreover, “scattering plenty” implies that the wealth of a nation can be squandered by its rulers. Gray may be suggesting that having power is not as desirable as it seems. Note that the final line of this stanza is enjambed; it continues into the following line — and in this case, the next stanza.

Lines 65-68

The first line of this stanza continues the thought of the previous, enjambed line. It abruptly reminds us that the impoverished conditions of the poor “forbade” them from becoming great rulers. Gray underscores the abrupt shock of this idea by abruptly interrupting the flow of the line with a caesura. Building on the idea of the previous stanza, the speaker notes that if poverty prevented the country laborers from acquiring the “virtues” of great and powerful people, it also prevented them from committing the “crimes” often associated with those people — and especially with those people who hold political power. In particular, it prevented them from engaging in the bloody activity associated with the British Civil War.

Lines 69-72

Because these farm laborers were not in positions of power, the speaker reasons, they never had to ignore their own consciences. Nor did they sacrifice their artistic talents (the gift of the “Muse”) to “Luxury” or “Pride.”

Lines 73-76

The speaker continues his praise of the simple life of common people. They are “far from the madding crowd” of city and political life. “Madding” here can mean either “maddening” (that is, the source of madness or insanity) or it can mean “mad” (that is, the crowd is itself hatefully insane). In either case, the common country people were removed from this insane world; as a result, they never “strayed” into the immoral acts of the powerful. Instead, they kept steadily to their simple but meaningful lives.

Lines 77-80

The speaker then reminds us that these common people are, in fact, long dead. He notes that even if they were not powerful or great, and even if they do not have an elaborate memorial of the sort mentioned in line 38, they still deserve homage or tribute. At the very least, he suggests, an onlooker should “sigh” on seeing their graves. Note here the multiple meanings we can attach to the word “passing.” It can refer to the onlooker, who is simply walking or “passing by” these graves. It can mean “in passing” — that someone seeing these graves should take just a moment out of their busy lives to remember the dead. And “passing” itself is a euphemism for death. In a way, then, Gray is suggesting that there is no difference between the person “passing” by the grave and the person who has “passed” away — another reminder that all will eventually die.

Lines 81-84

Instead of “fame and elegy,” the people buried here have modest tombstones, which display only their names and the dates of their birth and death. These common people were not famous, and no one has written elaborate elegies or funeral verses for them. Still, the very modesty of their tomb-stones testifies to the nobility and “holy” nature of their simple lives. As such, they provide an example not so much of how life should be lived, but how its end, death, should be approached. The term “rustic moralist” here is open to interpretation. It may refer to anyone who is in the countryside thinking about the meaning of death. But more likely, it refers to the speaker, who is himself moralizing — preaching or contemplating — about the nature of both life and death.

Lines 85-88

The speaker reasons that most people, faced with the prospect of dying and ultimately being forgotten, cling to life. Note Gray’s use of paradox in line 86: “this pleasing anxious being.” On the one hand, “being” or living can be “anxious,” filled with worries. On the other hand, just being alive — when faced with death — is itself “pleasing” or pleasant. The speaker is suggesting that even the troubles and worries of life are enjoyable in comparison to death.

Lines 89-92

The dead rely on the living to remember them and to mourn for them. The speaker suggests that this need is so fundamental that even from the grave the buried dead seem to ask for remembrance. In fact, as line 92 suggests, the dead actually live on in our memories.

Lines 93-96

In this stanza, the speaker addresses himself. He reasons that since he himself has been mindful of the dead, and has remembered and praised them in this poem, perhaps when he is dead someone will remember him. This person, he reasons, will necessarily be a “kindred Spirit,” someone who is also a lonely wanderer in the country, meditating on the nature of death. The speaker then goes on to imagine his own death: he envisions this “kindred Spirit” seeing his (the speaker’s) grave and wondering about his life and death.

Lines 97-100

In the next five stanzas, the speaker imagines how an old farm laborer might remember him after his death. If, the speaker speculates, the “kindred Spirit” sees the speaker’s grave and wonders about it, perhaps an old man might offer to describe the speaker. The old man would say that the speaker was often seen wandering about the countryside at dawn. Presumably, he was frequently out all night — as, no doubt, he has been in this very poem.

Lines 101-104

At noon, the old man continues, the speaker would frequently stretch out under an old tree at noon, and stare at a nearby brook.

Lines 105-108

The old man would have observed that the speaker’s moods were changeable: sometimes the speaker would wander about in the nearby woods, “smiling scornfully” and talking to himself; other times, he would appear depressed; then again, sometimes he would look as though he were in anguish. Perhaps, the old man speculates, the speaker had been “crossed in hopeless love.”

Lines 109-112

The speaker continues to imagine this old man remembering him after his death. The old man would have noticed one morning that the speaker was absent: he was not in any of his favorite spots. Likewise, the old man would remember, the speaker did not appear the following day.

Lines 113-116

The third day, however, the old man and his friends would have seen the speaker’s body being carried to the churchyard for burial. (The speaker, then, is imagining himself buried in the very graveyard he once used to wander by.) The old man invites this curious passerby, or “kindred Spirit,” to read the speaker’s epitaph. Note the reminder that the old man is uneducated: he cannot read, although the passerby can do so.

Lines 117-120

The last three stanzas are, in fact, the speaker’s epitaph; the way in which the speaker imagines his epitaph will read. Through the epitaph, the speaker asks the passerby (and the reader) not to remember him as wealthy, famous, or brilliantly educated, but as one who was “melancholic” or deeply thoughtful and sad.

Lines 121-124

The speaker asks that we remember him for being generous and sincere. His generosity was, in fact, his willingness to mourn for the dead. Because he was so generous, the speaker reasons, heaven gave him a “friend” — someone who would, in turn, mourn for him after his death. This friend is unnamed, but we can deduce that it is any “kindred Spirit” — including the reader — who reads the speaker’s epitaph and remembers him.

Lines 125-128

The speaker concludes by cautioning the reader not to praise him any further. He also asks that his “frailties,” his flaws or personal weaknesses, not be considered; rather, they should be left to the care of God, with whom the speaker now resides. The poem, then, is an elegy not only for the common man, but for the speaker himself. Indeed, by the end of the poem it is evident that the speaker himself wishes to be identified not with the great and famous, but with the common people whom he has praised and with whom he will, presumably, be buried.
http://www.answers.com/topic/elegy-written-in-a-country-churchyard-poem-3
__________________________________________________ _____________

5. Now fades the glimm'ring landscape on the sight,
6. And all the air a solemn stillness holds,
7. Save where the beetle wheels his droning flight,
8. And drowsy tinklings lull the distant folds.

Notes, Stanza 2 (1) Line 5: The landscape becomes less and less visible. (2) Save: except. (3) Beetle: winged insect that occurs in more than 350,000 varieties. One type is the firefly, or lightning bug. (4) Wheels: verb meaning flies in circles. (5) Droning: humming; buzzing; monotonous sound. (6) Drowsy tinklings lull the distant folds: This clause apparently refers to the gentle sounds made by a bell around the neck of a castrated male sheep that leads other sheep. A castrated male sheep is called a wether. Such a sheep with a bell around its neck is called a bellwether. Folds is a noun referring to flocks of sheep.
http://www.cummingsstudyguides.net/ThoGray.html
__________________________________________