Secondly I'd like to visit Australian city Sydney. I'd certainly go to the Sydney Opera House, the Sydney Harbour Bridge, the Town Hall, Taronga Zoo and sunbathe on the beautiful beaches. My third and final choice is European city in Italy Venice. It's popular with its waterways. I'd like to travel along the Grand Canal by a Venetian boat called gondola. There are also other sights I'd like to see. For example the Salute, the Ponte dei Sospiri, often called the "Bridge of Sighs", Piazza San Marco and St Mark's Basilica. I find it fabulous to see the Carnival of Venice. In conclusion, I love to travel, so it's difficult for me to choose, but if I could go anywhere in the world, then San Francisco, Sydney and Venice are the cities I'd choose. Johanna Elmik
Well, after chapter one there'll be chapter two however, aren't we forgetting about something? Of cause we're not there are going to be lovely tests somewhere in the middle of the two chapters! They'll be including everything we've learned so far, and, it's just a hypothesis though, there is a slight chance that there's going to be a last-minute surprise in the test. Isn't that just fantastic? The classroom's air is going to filled with quiet sighs of furious students who'd already had seven tests during the week. They are begging for this surprise to be cancelled, but it will not happen miracles are left on fairy-tale's pages. Chapter two begins with an enthralling discussion topic social environment. Unit one includes such scheming studies as personal development, character and appearance, descriptions (Lotus Eater a breath-taking cover for a mystical story) and body idioms. The
The traditional values are irrelevant to the peoples basic (economic) needs. Bazarov gives a harsh evaluation to Nikolai as " . , ". Evidently, one of the traits that is omitted to the generation of 1840s the fathers - is the sentimentality and overly romantic feelings that contrast strongly with that of the new men of the 1960s. Nikolai is depicted as sentimental and dreamy as he awaits his son. He ponders long in his thoughts, and sighs overly emotionally "... ... ...", while also thinking of his long-lost wife. Throughout the novel he does not hesitate to kiss his son, initiate physical contact and openly express his fondness qualities which are not overly `manly' or adult, but rather emotional and child-like. In nature, he thinks " , !" .. ". Nikolais fondness of poetry is also deemed silly as he starts to quote verses by Pushkin in Chapter 2 " , -- , : , , ,
metre. An example of this period: In a somer seson, when soft was the sonne, I shope me in shroudes, as I shepe were. (W.Langland) The importance of A. Is fully recognized by contemporary poets as well. They use it more sparingly, yet rather frequently and effectively. The complete alliteration of Anglo-Saxon poetry is sometimes used for humorous purposes: Susan Simpson strolled sedately, Stifling sobs, suppressing sighs. (Anon.) Alliteration may have its share in producing an ironic effect. Byron, for example, pokes fun at the sugar sweetness of writers of love songs through the consonants in the second line of When amatory poets sing their loves In liquid lines mellifluously bland... A. may convey various shades of meaning. A.Tennyson, by the use of consonants, suggests firmness and hardness of the eagle and rock in
To have no love for anything on earth; And I could see my brother, children, mother, And wife, all die, and never care--a snap. CLEANTE Your feelings are humane, I must say, brother! ORGON Ah! If you'd seen him, as I saw him first, You would have loved him just as much as I. He came to church each day, with contrite mien, Kneeled, on both knees, right opposite my place, And drew the eyes of all the congregation, To watch the fervour of his prayers to heaven; With deep-drawn sighs and great ejaculations, He humbly kissed the earth at every moment; And when I left the church, he ran before me To give me holy water at the door. I learned his poverty, and who he was, By questioning his servant, who is like him, And gave him gifts; but in his modesty He always wanted to return a part. "It is too much," he'd say, "too much by half; I am not worthy of your pity." Then, When I refused to take it back, he'd go, Before my eyes, and give it to the poor.
Indeed this counsellor 126 Is now most still, most secret and most grave, Who was in life a foolish prating knave. Come, sir, to draw toward an end with you. Good night, mother. Exeunt severally; HAMLET dragging in POLONIUS 127 Act IV SCENE I. A room in the castle. Enter KING CLAUDIUS, QUEEN GERTRUDE, ROSENCRANTZ, and GUILDENSTERN KING CLAUDIUS There's matter in these sighs, these profound heaves: You must translate: 'tis fit we understand them. Where is your son? QUEEN GERTRUDE Bestow this place on us a little while. Exeunt ROSENCRANTZ and GUILDENSTERN Ah, my good lord, what have I seen to-night! KING CLAUDIUS What, Gertrude? How does Hamlet? QUEEN GERTRUDE Mad as the sea and wind, when both contend Which is the mightier: in his lawless fit, Behind the arras hearing something stir, Whips out his rapier, cries, 'A rat, a rat!'
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