The article Principles of Instructed Second Language Acquisition by Rod Ellis is a very meaningful article that acknowledges and explains in detail the principles of language acquisition and how to imply such learning principles within the classroom setting....
The narrator shows us in a subtly ironic manner thatin his youthful adoration ofMangan's sister she is, confusedly, theembodiment of all his boyish dreams of the beauty of physical desireand,at the same time, the embodiment of his adoration of all that isholy.
Most students really appreciate seeing a finished product. If you are to really benefit from model essays, you need to learn how to read the ‘techniques of the writer’. The following exercise helps you to get started with developing your ‘read the writer’ skills.
(7) Nevertheless, as his use of setting in "Hills LikeWhite Elephants" indicates, he was fully capable of exploiting the symbolicdimensions of language to make his stories richer and to point to their deepermeanings.
(4) As wethink about his descriptions of the setting, however, and ask ourselves whyhe chose to describe it as he did, the deeper meaning of his writing becomesclearer.
For me, this is a red flag that the writer either did not believe in the "haiku has two parts" rule or didn't stay with the rewrite long enough to solve the problem properly. Frankly, I see most punctuation as a cop-out. Almost any ku written as a run-on sentence (with or without its dash) can be rewritten so that the grammar syntax forms the proper breaks. Or the author forms places where the reader can decide where to make the break and thus, give the haiku additional meaning. From this philosophy, I view haiku with punctuation as haiku which perhaps fail to fit this basic form. Some writers, unable, or unwilling to understand the use of fragment and phrase will write the ku in one line. If the author has a well developed feeling for fragment and phrase, the grammar will expose which is which. In these cases, my feeling is - why not write the ku in the threelines it 'shows' by the way it sounds.
1"Thick darkness," "thread of the spider," and "vulture eye" are three images that Poe used in "The Tell-Tale Heart" to stimulate a reader's senses. 2Poe wanted the reader to see and feel real life. 3He used concrete imagery rather than vague abstract words to describe settings and people. If Edgar Allan Poe was one of Stephen King's teachers, then readers of King owe a debt of gratitude to that nineteenth-century creator of horror stories.
1Further on in the story, Poe uses a couple of words that cross not only the sense of sight but also the sense of feeling to describe a dynamic scene. 2The youth in the story has been standing in the open doorway of the old man's room for a long time, waiting for just the right moment to reveal himself to the old man in order to frighten him. 3Poe writes: "So I opened it [the lantern opening]--you cannot imagine how stealthily, stealthily--until, at length, a single dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye." 4By using the metaphor of the thread of the spider (which we all know is a creepy creature) and the word "shot," Poe almost makes the reader gasp, as surely did the old man whose one blind eye the young man describes as "the vulture eye."
It pays to be aware of which two lines you wish to make into the phrase. It helps to read the two lines of a ku which are to become your phrase out loud to see how they sound in your mouth and ears. If there is a too-clear break between the lines, ask yourself if you need an article or an article plus a preposition to be inserted. If you do, forget brevity and allow yourself the lyric pleasure of a smooth shift between these two lines. If I had chosen to make the first line the fragment I would write the ku as:
raspberry leaves glow
red and green
Some workswill not warrant an essay devoted to setting and at-mosphere; others, like Joyce's "Araby," will be soprofoundly dependentupon a particular setting that to ignore its importance will be to miss muchof the meaningof the work.
(5) Hemingway stresses three elements of the story's setting-- the line of rails, the oppressive heat, and the contrasting sides of thevalley -- to indicate the nature of the couple's conflict and the difficultiesof resolving it.
Sometimes a good example of what you are trying to achieve is worth a 1000 words of advice! When you are asked to write an essay, try to find some samples (models) of similar writing and learn to observe the craft of the writer. You can use the samples as a basis for working out how to write in the correct style.