Swain Quotes

It's all about the smiles!

The fact that you are possessed by a demon does not mean you must become evil. Being evil is a choice, just as being good is a choice. If you let the demon take over, it's because you choose to.

There is no mistaking a real book when one meets it. It is like falling in love, and like that colossal adventure it is an experience of great social import. Even as the tranced swain, the booklover yearns to tell others of his bliss. He writes letters about it, adds it to the postscript of all manner of communications, intrudes it into telephone messages, and insists on his friends writing down the title of the find. Like the simple-hearted betrothed, once certain of his conquest, “I want you to love her, too!” It is a jealous passion also. He feels a little indignant if he finds that any one else has discovered the book, too.

This wasn’t a way of getting over a passing crush on your older sister’s swain. This was the moon of Jupiter and the sun of Venus aligning in the sky over her head.

There is no mistaking a real book when one meets it. It is like falling in love, and like that colossal adventure it is an experience of great social import. Even as the tranced swain, the booklover yearns to tell others of his bliss.

fifty years ago did Nathan Swain kill fifteen whales between a sunrise and a sunset. And that harpoon—so like a corkscrew now—was flung

Tatiana knew that she belonged irrevocably to Alexander. She thought she could extricate herself from him, that she could go on with her life somehow, that he could go on with is. It was all a sham. This wasn't a way of getting over a passing crush on your older sister's swain. This was the moon of Jupiter and the sun of Venus aligning in the sky over her head.

In all my wanderings through this world of care, In all my griefs -- and God has given my share -- I still had hopes, my latest hours to crown, Amidst these humble bowers to lay me down; To husband out life's taper at the close, And keep the flame from wasting, by repose: I still had hopes, for pride attends us still, Amidst the swains to show my book-learn'd skill, Around my fire an evening group to draw, And tell of all I felt, and all I saw; And, as a hare, whom hounds and horns pursue, Pants to the place from whence at first she flew, I still had hopes, my long vexations past, Here to return -- and die at home at last.

Come live with me and be my love, And we will all the pleasures prove That valleys, groves, hills, and fields, Woods or steepy mountain yields. And we will sit upon the rocks, Seeing the shepherds feed their flocks, By shallow rivers to whose falls Melodious birds sing madrigals. And I will make thee beds of roses And a thousand fragrant posies, A cap of flowers, and a kirtle Embroidered all with leaves of myrtle; A gown made of the finest wool Which from our pretty lambs we pull; Fair lined slippers for the cold, With buckles of th purest gold; A belt of straw and ivy buds, With coral clasps and amber studs: And if these pleasures may thee move, Come live with me and be my love. The shepherds' swains shall dance and sing For thy delight each May morning: If these delights thy mind may move, Then live with me and be my love.

A noble maiden must convey dignity and chastity without appearing to think about either one. Let common-born girls tussle in the hay with their loutish swains. The future of your family's bloodline and your future lord's bloodline should be your greatest concern. Let no man but one of your family embrace you. Let no man but your betrothed kiss any more than your fingertips; let your betrothed kiss you only on fingers, cheek, or forehead, lest he think you unchaste. And never allow yourself to be alone with a man, to safeguard the precious jewel of you reputation. No well-born maiden ever suffered from keeping her suitors at arm's length. Your chastity will make you a prize to you future husband's house and an honor to your own." - form Advice to a Young Noblewoman, by Lady Fronia of Whitehall (in Maren) given to Ally on her twelfth birthday by her godmother, Queen Thayet

Your ma said you were born vexed with the world, aye. And Swain said you were born vexed enough to turn it on its head.

Being hungry is the most natural thing in the world

A story is the record of how somebody deals with danger.

You'd be surprised, you can do a lot more damage with your brains than with your fists.

To be a writer, a creative person, you must retain your ability to react uniquely. Your feelings must remain your own. The day you mute yourself, or moderate yourself, or repress your proneness to get excited or ecstatic or angry or emotionally involved...that day, you die as a writer.

Those who turn the instruments of science upon Nature will always be in danger of seeing more than they looked for. There is such a disaster as that of knowing too much, and at some time or another it may overtake each of us.

It was almost exactly like the caves to the east where my girl cousins met their swains to canoodle.

Farewell, ungrateful traitor, Farewell, my perjured swain; Let never injured creature Believe a man again. The pleasure of possessing Surpasses all expressing, But 'tis too short a blessing, And love too long a pain. 'Tis easy to deceive us In pity of your pain; But when we love you leave us To rail at you in vain. Before we have descried it There is no bliss beside it, But she that once has tried it Will never love again. The passion we pretended Was only to obtain, But when the charm is ended The charmer you disdain. Your love by ours we measure Till we have lost our treasure, But dying is a pleasure When living is a pain.

The schoolmaster is generally a man of some importance in the female circle of a rural neighborhood, being considered a kind of idle, gentlemanlike personage, of vastly superior taste and accomplishments to the rough country swains, and, indeed, inferior in learning only to the parson.

Dwight Swain, the great writing teacher, once said that the secret of excitement is to go deeper into your characters. Create more backstory, more secrets, more complexity, and you'll get excited again.

Waverley hired as a servant, a simple Edinburgh swain, who had mounted the white cockade in a fit of spleen and jealousy, because Jenny Jop had danced a whole night with Corporal Bullock of the Fusileers.

Broad racial solidarity is another possible explanation for why blacks have remained so bullish on Obama despite his economic record. A black member of Congress told political scientist Carol Swain that “one of the advantages, and disadvantages, of representing blacks is their shameless loyalty . . . You can almost get away with raping babies and be forgiven. You don’t have any vigilance about your performance.”3

But emotion, for most people, too often is like some sort of slumbering giant, lulled to sleep by preoccupation with the dead facts of that outer world we call objective. When we look at a painting, we see a price tag. A trip is logistics more than pleasure. Romance dies in household routine. Yet life without feeling is a sort of death.

Taking your clothes off and spreading yourself on top of Roman Bradford’s desk is a bad idea.” “I was thinking more along the lines of dropping to my knees and going all Hoover on his cock,” Derrick announced with a tremulous smile. “I do give great head. I figure I’ll have him eating out of my hand in no time.” Derrick Swain, Hearsay

Hati yang membuat kesenangan untuk diri sendiri, membuatkan juga kesenangan untuk orang lain.

Our soul can't be free from this body until we are ready to leave our emotions behind.

C.R.U.S.H means carelessly rushing upon serious heartbreak, in other words unrequited love.

Education is an opportunity, nothing more. It will not guarantee success, or happiness, or contentment, or riches. Everything depends upon what development is produced by it and what use is made of it. It does not mean morality or usefulness. It may make a man more capable of doing harm in the world, for an educated scoundrel is clearly more dangerous than an ignorant one.

Emmy has embarked on her journey to enrich the world with smiles. They are free, healthy, and often, very contagious.

the writer is driven by his need to escape the limits of a too-small world, the World That Is. It’s in his blood to range farther than life can ever let him go.

There is something explicity satisfying about people who observe you for just who you are.

Your future is bright, but you must have the courage and faith to grasp it

There’s a quote I love about writing by Dwight V. Swain: “A story is something you do to a reader.

Then my biggest concern," he was saying, "are the nightmares I'm going to have about all the morgue poems you're going to write. The murder poems. The I made this poison for you, poor swain poems -" "I have layers," I reminded him. "What if all my poems were about my grandmother?" "You have a grandmother?" "I didn't spring whole from the head of Zeus." "Scary. Pass." "Kittens, then," I said. We had made it to the steps of my lecture hall. "I could write about kittens. Tulips. My future wedding -" "Completely terrifying." I squeezed his elbow. I adored him.

If you have to degrade one thing to express your love for another, is it love? Your love should be able to stand on it's own merit...without excuse or explanation. #DontTaintYourLoveWithHate

But as Mark Twain once observed, the difference between the right word and the almost right word is as the difference between lightning and the lightning bug. So do strive for that right word!

Andre was propped in bed, reading by the light of the lamp. He looked up when she entered. "You look beautiful, my dear. I predict the local swains will find you more delectable than the ice cream.

Waverley hires as a servant, a simple Edinburgh swain, who had mounted the white cockade in a fit of spleen and jealousy, because Jenny Jop had danced a whole night with Corporal Bullock of the Fusileers.

To him who in the love of Nature holds Communion with her visible forms, she speaks A various language; for his gayer hours She has a voice of gladness, and a smile And eloquence of beauty, and she glides Into his darker musings, with a mild And healing sympathy, that steals away Their sharpness, ere he is aware. When thoughts Of the last bitter hour come like a blight Over thy spirit, and sad images Of the stern agony, and shroud, and pall, And breathless darkness, and the narrow house, Make thee to shudder, and grow sick at heart;— Go forth, under the open sky, and list To Nature’s teachings, while from all around— Earth and her waters, and the depths of air— Comes a still voice— Yet a few days, and thee The all-beholding sun shall see no more In all his course; nor yet in the cold ground, Where thy pale form was laid, with many tears, Nor in the embrace of ocean, shall exist Thy image. Earth, that nourished thee, shall claim Thy growth, to be resolved to earth again, And, lost each human trace, surrendering up Thine individual being, shalt thou go To mix for ever with the elements, To be a brother to the insensible rock And to the sluggish clod, which the rude swain Turns with his share, and treads upon. The oak Shall send his roots abroad, and pierce thy mould. Yet not to thine eternal resting-place Shalt thou retire alone, nor couldst thou wish Couch more magnificent. Thou shalt lie down With patriarchs of the infant world—with kings, The powerful of the earth—the wise, the good, Fair forms, and hoary seers of ages past, All in one mighty sepulchre. The hills Rock-ribbed and ancient as the sun,—the vales Stretching in pensive quietness between; The venerable woods—rivers that move In majesty, and the complaining brooks That make the meadows green; and, poured round all, Old Ocean’s gray and melancholy waste,— Are but the solemn decorations all Of the great tomb of man. The golden sun, The planets, all the infinite host of heaven, Are shining on the sad abodes of death, Through the still lapse of ages. All that tread The globe are but a handful to the tribes That slumber in its bosom.—Take the wings Of morning, pierce the Barcan wilderness, Or lose thyself in the continuous woods Where rolls the Oregon, and hears no sound, Save his own dashings—yet the dead are there: And millions in those solitudes, since first The flight of years began, have laid them down In their last sleep—the dead reign there alone. So shalt thou rest, and what if thou withdraw In silence from the living, and no friend Take note of thy departure? All that breathe Will share thy destiny. The gay will laugh When thou art gone, the solemn brood of care Plod on, and each one as before will chase His favorite phantom; yet all these shall leave Their mirth and their employments, and shall come And make their bed with thee. As the long train Of ages glide away, the sons of men, The youth in life’s green spring, and he who goes In the full strength of years, matron and maid, The speechless babe, and the gray-headed man— Shall one by one be gathered to thy side, By those, who in their turn shall follow them. So live, that when thy summons comes to join The innumerable caravan, which moves To that mysterious realm, where each shall take His chamber in the silent halls of death, Thou go not, like the quarry-slave at night, Scourged to his dungeon, but, sustained and soothed By an unfaltering trust, approach thy grave, Like one who wraps the drapery of his couch About him, and lies down to pleasant dreams.

War on two fronts, then.” Swain grimaced. “Not a pleasant prospect, my lord.” “No, my lord. It isn’t.” We shared a muted grin at the absurdity of addressing each other with titles bestowed by a dynasty with which we were now tacitly at war.

Swain (2000) considers collaborative dialogues such as these as the context where ‘language use and language learning can co-occur. It is language use mediating language learning. It is cognitive activity and it is social activity’ (p. 97).

Allow me.” Hazlit crossed the room in three strides and held the door for the tweeny, then took the tray from her. “Our thanks.” Our thanks? “I think you need a wife, in truth, Mr. Hazlit, so convincingly do you take on your role of doting swain.” “Perhaps I do.

Some cynical Frenchman has said that there are two parties to a love-transaction: the one who loves and the other who condescends to be so treated. Perhaps the love is occasionally on the man's side; perhaps on the lady's. Perhaps some infatuated swain has ere this mistaken insensibility for modesty, dulness for maiden reserve, mere vacuity for sweet bashfulness, and a goose, in a word, for a swan. Perhaps some beloved female subscriber has arrayed an ass in the splendour and glory of her imagination; admired his dulness as manly simplicity; worshipped his selfishness as manly superiority; treated his stupidity as majestic gravity, and used him as the brilliant fairy Titania did a certain weaver at Athens. I think I have seen such comedies of errors going on in the world. Chapter 13

The poor bloody poet can no longer say “ope” for “open,” or “swain” for “youth,” he is expected to construct new poems out of the plastic and Styrofoam garbage that litters the twentieth-century linguistic floor, to make fresh art from the used verbal condoms of social intercourse.

Of course the circumspection of suspicious swains had never gone the length of making her a social prescript; for the number of those whose hearts, as they approached her, beat only just fast enough to remind them they had heads as well, had kept her unacquainted with the supreme disciplines of her sex and age.

..feeling is the place every story starts.

Writing is a lonely business.

There is really no such thing as the novel,” observes novelist Vincent McHugh. “The novel is always a novel—the specific problem, the particular case, the concrete instance.

The true beginning of wisdom is the desire of discipline." —Wisdom of Solomon.

The more you Travel the more you understand the Universe

There goes the world's wimpiest vampire.

Fuck a Girl in a Right intention is better' Than to love a girl in a wrong Intention......

The student is not an empty vessel to be pumped full of learning; he is a complex machine which education should help to run properly.

The man just above the line passes, and the man just below the line fails.

Struggle isn't worthy being a story until the outcome results in success.

I am going to be more than the chaos around me.

key challenge in the 2020s will be to change the mindset in many banks from one of a finance company to one of a technology company.

it's your responsibility to make the most of every new opportunity

It is not what is read or what is remembered, but only what is understood, that gives power,

He is to master the book, the book is not to master him.

A wise man knows an ignorant one, because he has been ignorant himself, but the ignorant cannot recognize the wise, because he has never been wise."—Persian Proverb.

NIGHT OF LOVE The moon has left the sky, love, The stars are hiding now, And frowning on the world, love, Night bares her sable brow. The snow is on the ground, love, And cold and keen the air is. I 'm singing here to you, love; You 're dreaming there in Paris. But this is Nature's law, love, Though just it may not seem, That men should wake to sing, love, While maidens sleep and dream. Them care may not molest, love, Nor stir them from their slumbers, Though midnight find the swain, love, Still halting o'er his numbers. I watch the rosy dawn, love, Come stealing up the east, While all things round rejoice, love, That Night her reign has ceased. The lark will soon be heard, love, And on his way be winging; When Nature's poets wake, love, Why should a man be singing?

Gloriana, being royal isn’t about the wealth you possess, the crown on your head, the fine clothes you wear, or the castle you live in. It’s about the loyalty in your heart for your people, the knowledge in your head to aid them in times of trouble, and the depth of your soul to weather any storm.” Kimbra Swain. Fairy Tales Of A Trailer Park Queen: Boxset (Kindle Locations 3327-3329). Crimson Sun Press.

Come live with me and be my love, And we will all the pleasures prove, That Valleys, groves, hills, and fields, Woods, or steepy mountain yields. And we will sit upon the Rocks, Seeing the Shepherds feed their flocks, By shallow Rivers to whose falls Melodious birds sing Madrigals. And I will make thee beds of Roses And a thousand fragrant posies, A cap of flowers, and a kirtle Embroidered all with leaves of Myrtle; A gown made of the finest wool Which from our pretty Lambs we pull; Fair lined slippers for the cold, With buckles of the purest gold; A belt of straw and Ivy buds, With Coral clasps and Amber studs: And if these pleasures may thee move, Come live with me, and be my love. The Shepherds’ Swains shall dance and sing For thy delight each May-morning: If these delights thy mind may move, Then live with me, and be my love.

To understand the Universe, we must guide our children and children of children to keep exploring the history because one life is not enough to understand the Universe. The beginning of our life lies in the history only.

This was all splendid stuff for Luciaphils; it was amazing how at a first glance she recognised everybody. The gallery, too, was full of dears and darlings of a few weeks' standing, and she completed a little dinner-party for next Tuesday long before she had made the circuit. All the time she kept Stephen by her side, looked over his catalogue, put a hand on his arm to direct his attention to some picture, took a speck of alien material off his sleeve, and all the time the entranced Adele felt increasingly certain that she had plumbed the depth of the adorable situation. Her sole anxiety was as to whether Stephen would plumb it too. He might--though he didn't look like it--welcome these little tokens of intimacy as indicating something more, and when they were alone attempt to kiss her, and that would ruin the whole exquisite design. Luckily his demeanour was not that of a favoured swain; it was, on the other hand, more the demeanour of a swain who feared to be favoured, and if that shy thing took fright, the situation would be equally ruined. . . . To think that the most perfect piece of Luciaphilism was dependent on the just perceptions of Stephen! As the three made their slow progress, listening to Lucia's brilliant identifications, Adele willed Stephen to understand; she projected a perfect torrent of suggestion towards his mind. He must, he should understand. . .

A bed of roses' is first found in's The Passionate Shepherd To His Love. This was published posthumously in 1599 - Marlowe died in 1593. Come live with me and be my love, And we will all the pleasures prove That valleys, groves, hills, and fields, Woods or steepy mountain yields. And we will sit upon the rocks, Seeing the shepherds feed their flocks, By shallow rivers to whose falls Melodious birds sing madrigals. And I will make thee beds of roses And a thousand fragrant posies, A cap of flowers, and a kirtle Embroidered all with leaves of myrtle; A gown made of the finest wool Which from our pretty lambs we pull; Fair lined slippers for the cold, With buckles of the purest gold; A belt of straw and ivy buds, With coral clasps and amber studs: And if these pleasures may thee move, Come live with me and be my love. The shepherds' swains shall dance and sing For thy delight each May morning: If these delights thy mind may move, Then live with me and be my love.

As a fantasist, I well understand the power of escapism, particularly as relates to romance. But when so many stories aimed at the same audience all trumpet the same message – And Lo! There shall be Two Hot Boys, one of them your Heart’s Intended, the other a vain Pretender who is also hot and with whom you shall have guilty makeouts before settling down with your One True Love – I am inclined to stop viewing the situation as benign and start wondering why, for instance, the heroines in these stories are only ever given a powerful, magical destiny of great importance to the entire world so long as fulfilling it requires male protection, guidance and companionship, and which comes to an end just as soon as they settle their inevitable differences with said swain and start kissing. I mean to invoke is something of the danger of mob rule, only applied to narrative and culture. Viz: that the comparative harmlessness of individuals does not prevent them from causing harm en masse. Take any one story with the structure mentioned above, and by itself, there’s no problem. But past a certain point, the numbers begin to tell – and that poses a tricky question. In the case of actual mobs, you’ll frequently find a ringleader, or at least a core set of agitators: belligerent louts who stir up feeling well beyond their ability to contain it. In the case of novels, however, things aren’t so clear cut. Authors tell the stories they want to tell, and even if a number of them choose to write a certain kind of narrative either in isolation or inspired by their fellows, holding any one of them accountable for the total outcome would be like trying to blame an avalanche on a single snowflake. Certainly, we may point at those with the greatest (arguable) influence or expostulate about creative domino effects, but as with the drop that breaks the levee, it is impossible to try and isolate the point at which a cluster of stories became a culture of stories – or, for that matter, to hold one particular narrative accountable for the whole.

How long were you standing there?" "Long enough to know you will be leaving soon. I thought I should speak to you. I didn't think you would come to tell me. Would you have?" "No. I wouldn't have expected you to care. You followed me?" "Like a lovesick swain. Wherever you go, there am I. Haven't you noticed these past weeks?" "I have seen you drinking and mocking with your jaded friends and your latest paramour on your arms. Or is it still Castlemaine? Have you no self-respect?" "No. None." He shrugged. "Love is war, and feigned disinterest my armor. You wear yours too, love. It is sad I know.

If Sophie were up to mischief, His Grace was privately of the opinion it was about damned time, provided the mischief involved a suitable swain. Sophie was wasting her youth tending to the halt and the lame when she ought to be about snabbling a handsome specimen to help provide her dear parents with some chubby little… to help her fill her nursery. His Grace opened the paper to the financial section. An attempt to read the contents thereof was about as soporific as a tot of the poppy, but it was a fine excuse to let his mind drift off to which young men of his acquaintance he might consider worthy of his most sensible daughter. If any. ***

KRÁKUMÁL [...] 25. We struck with our swords! My soul is glad, for I know that Balder’s father’s benches for a banquet are made ready. We’ll toss back toasts of ale from bent trees of the skulls; no warrior bewails his death in the wondrous house of Fjolnir. Not one word of weakness will I speak in Vidrir’s hall. 26. We struck with our swords! The sons of Aslaug all would rouse the wrath of Hild here with their ruthless sword-blades, if they fathomed fully how far I have traveled, how so many serpents stab me with their poison. My son’s hearts will help them: they have their mother’s lineage. 27. We struck with our swords! Soon my life is ended; Goinn scathes me sorely, settles in my heart’s hall; I wish the wand of Vidrir would wound Æelle, one day. My sons must feel great fury that their father is put to death; my daring swains won’t suffer in silence when they hear this. 28. We struck with our swords! I have stood in the ranks at fifty-one folk-battles, foremost in the lance-meet. Never did I dream that a different king should ever be found braver than me— I bloodied spears when young. Æsir will ask us to feast; no anguish for my death. 29. I desire my death now. The disir call me home, whom Herjan hastens onward from his hall, to take me. On the high bench, boldly, beer I’ll drink with the Gods; hope of life is lost now— laughing shall I die!

Her Grace dispatched me to figure out what has you lot glowering like a matched set of gargoyles.” Percival, the Duke of Moreland, surveyed his three sons, all of whom were clutching their drinks with the grim resignation of grown men being sociable under duress. This was odd, since all of his children were more than comfortable in social settings. “We’re that obvious?” Valentine asked. “To Her Grace, all is transparent when it comes to her family. I suppose we’re waiting for Sophie’s swain to come to his senses and gallop up the drive on his white charger?” St. Just stood by the window, peering through a crack in the drapes. “It’s a bay, actually, and the idiot man is finally here.

For what is in this world but grief and woe? O God! methinks it were a happy life To be no better than a homely swain; To sit upon a hill, as I do now, To carve out dials quaintly, point by point, Thereby to see the minutes how they run- How many makes the hour full complete, How many hours brings about the day, How many days will finish up the year, How many years a mortal man may live. When this is known, then to divide the times- So many hours must I tend my flock; So many hours must I take my rest; So many hours must I contemplate; So many hours must I sport myself; So many days my ewes have been with young; So many weeks ere the poor fools will can; So many years ere I shall shear the fleece: So minutes, hours, days, months, and years, Pass'd over to the end they were created, Would bring white hairs unto a quiet grave. Ah, what a life were this! how sweet! how lovely! Gives not the hawthorn bush a sweeter shade To shepherds looking on their silly sheep, Than doth a rich embroider'd canopy To kings that fear their subjects' treachery? O yes, it doth; a thousand-fold it doth. And to conclude: the shepherd's homely curds, His cold thin drink out of his leather bottle, His wonted sleep under a fresh tree's shade, All which secure and sweetly he enjoys, Is far beyond a prince's delicates- His viands sparkling in a golden cup, His body couched in a curious bed, When care, mistrust, and treason waits on him.

I would not have you think me regretful, or melancholy. Life has been good to me—and every age has its gifts for the man who is willing to work for them and use them temperately. And nothing is more ungraceful, more ludicrous, than the spectacle of one who attempts to linger over the pleasures of an age he had outlived, and ignore the advantages of his own time of life.

Visa alone in its recent financial year processed US$11 trillion in card volumes across 3.3 billion cards, driven by over 180 billion transactions. However, according to Visa an estimated two billion people worldwide still lack access to formal financial services, with last year US$17 trillion still transacted in cash and checks globally in the consumer-to-business channel.

The next bit is the fairy tale. There’s a day in April when it’s raining. The river is running fast. The girl whose father had died, whose mother raised her in the crooked house by the river, who grew up with that broken part inside where your father has died and which if you’re a girl and your father was Spencer Tracy you can’t fix or unhurt, that girl who yet found in herself some kind of forbearance and strength and was not bitter, whose name was Mary MacCarroll and who was beautiful without truly knowing it and had her mother and father’s dancing and pride in her, that girl walked the riverbank in the April rain. And standing at that place in Shaughnessy’s called Fisher’s Step, where the ground sort of raises a little and sticks out over the Shannon, right there, the place which in The Salmon in Ireland Abraham Swain says salmon pass daily and though it’s treacherous he calls a blessed little spot, right there, looking like a man who had been away a long time and had come back with what in Absalom, Absalom! (Book 1,666, Penguin Classics, London) William Faulkner calls diffident and tentative amazement, as if he’d been through some solitary furnace experience, and come out the other side, standing right there, suntanned face, pale-blue eyes that look like they are peering through smoke, lips pressed together, aged twenty-nine but looking older, back in Ireland less than two weeks, the ocean-motion still in his legs but strangely the river now lending him a river repose, standing right there, was Virgil Swain.

Merrill Swain and Sharon Lapkin (2002), who have investigated sociocultural explanations for second language learning in Canadian French immersion programmes. Their work has its origins in Swain’s comprehensible output hypothesis and the notion that when learners have to produce language, they must pay more attention to how meaning is expressed through language than they ordinarily do for the comprehension of language. Swain (1985) first proposed the comprehensible output hypothesis based on the observation that French immersion students were considerably weaker in their spoken and written production than in their reading and listening comprehension. She advocated more opportunities for learners to engage in verbal production (i.e. output) in French immersion classrooms.

Recently China’s economy reached US$23.12 trillion in gross domestic product (the total value of goods produced and services provided in one country in a year). As the Chinese economy continues to rebalance from investment and manufacturing to consumption and services, bankers and officials around the world will be monitoring China for a soft or hard landing from 30 years of explosive growth.

Thou hast hit it: come, sit on me. Kath. Asses are made to bear, and so are you. Pet. Women are made to bear, and so are you. Kath. No such jade as bear you, if me you mean.202 Pet. Alas! good Kate, I will not burden thee; For, knowing thee to be but young and light,— Kath. Too light for such a swain as you to catch, And yet as heavy as my weight should be. Pet. Should be! should buz! Kath. Well ta’en, and like a buzzard. Pet. O slow-wing’d turtle! shall a buzzard take thee?208 Kath. Ay, for a turtle, as he takes a buzzard. Pet. Come, come, you wasp; i’ faith you are too angry. Kath. If I be waspish, best beware my sting. Pet. My remedy is, then, to pluck it out.212 Kath. Ay, if the fool could find it where it lies. Pet. Who knows not where a wasp does wear his sting? In his tail. Kath. In his tongue. Pet. Whose tongue? Kath. Yours, if you talk of tails; and so farewell.216 Pet. What! with my tongue in your tail? nay, come again.

The last encounter was one Ian enjoyed, because Elizabeth was with him after they’d had their second-and last permissible-dance. Viscount Mondevale had approached them with Valerie hanging on his arm, and the rest of their group fanned around them. The sight of the young woman who’d caused them both so much pain evoked almost as much ire in Ian as the sight of Mondevale watching Elizabeth like a lovelorn swain. “Mondevale,” Ian had said curtly, feeling the tension in Elizabeth’s fingers when she looked at Valerie, “I applaud your taste. I’m certain Miss Jamison will make you a fine wife, if you ever get up the spine to ask her. If you do, however, take my advice, and hire her a tutor, because she can’t write and she can’t spell.” Transferring his blistering gaze to the gaping young woman, Ian clipped, “’Greenhouse’ has a ‘u’ in it. Shall I spell ‘malice’ for you as well?” “Ian,” Elizabeth chided gently as they walked away. “It doesn’t matter anymore.” She looked up at him and smiled, and Ian grinned back at her. Suddenly he felt completely in harmony with the world. The feeling was so lasting that he managed to endure the remaining three weeks-with all the requisite social and courtship rituals and betrothal formalities-with equanimity while he mentally marked off each day before he could make her his and join his starving body with hers. With a polite smile on his face Ian appeared at teas and mentally composed letters to his secretary; he sat through the opera and slowly undressed her in his mind; he endured eleven Venetian breakfasts where he mentally designed an entirely new kind of mast for his fleet of ships; he escorted her to eighteen balls and politely refrained from acting our his recurring fantasy of dismembering the fops who clustered around her, eyeing her lush curves and mouthing platitudes to her. It was the longest three weeks of his life. It was the shortest three weeks of hers.

Like all Freed musicals and all Astaire musicals, The Band Wagon believes that high and low, art and entertainment, elite and popular aspirations meet in the American musical. The Impressionist originals in Tony’s hotel room, which eventually finance his snappier vision of the show, draw not only a connection to An American in Paris but to painters, like Degas, who found art in entertainers. The ultimate hymn to this belief is the new Dietz and Schwartz song for the film, “That’s Entertainment,” which is to filmusicals what Berlin’s “There’s No Business Like Show Business” is to the stage.11 Whether a hot plot teeming with sex, a gay divorcée after her ex, or Oedipus Rex, whether a romantic swain after a queen or “some Shakespearean scene (where a ghost and a prince meet and everything ends in mincemeat),” it’s all one world of American entertainment. “Hip Hooray, the American way.” Dietz’s lyrics echo Mickey’s theorem in Strike Up the Band. What’s American? Exactly this kind of movie musical from Mount Hollywood Art School.

In its broadest sense, the question to be considered is, "How to Investigate a Problem." In doing this the first step is to get together all available information regarding the problem, including books, experimental data and results of experience, and to consider and digest this material. Personal investigations and inquiry, further experimental research, correspondence, travel, etc., may then be necessary. This will be based, however, in general, upon a study of books, and with this part of the subject we are here particularly concerned.

The dumpkeeper had spawned nine daughters and named them out of an old medical dictionary gleaned from the rubbish he picked. These gangling progeny with black hair hanging from their armpits now sat idle and wide-eyed day after day in chairs and crates about the little yard cleared out of the tips while their harried dam called them one by one to help with chores and one by one they shrugged or blinked their sluggard lids. Uretha, Cerebella, Hernia Sue. They moved like cats and like cats in heat attracted surrounding swains to their midden until the old man used to go out at night and fire a shotgun at random just to clear the air. He couldn't tell which was the oldest or what age and he didn’t know whether they should go out with boys or not. Like cats they sensed his lack of resolution. They were coming and going all hours in all manner of degenerate cars, a dissolute carousel of rotting sedans and niggerized convertibles with bluedot taillamps and chrome horns and foxtails and giant dice or dashboard demons of spurious fur. All patched up out of parts and lowslung and bumping over the ruts. Filled with old lanky country boys with long cocks and big feet.

Around the glade this pair of woodland nymphs danced. He swept her in a waltz to a duet that was sometimes off tune, sometimes rent with giggling and laughter as they made their own music. A breathless Erienne fell to a sun-dappled hummock of deep, soft moss, and laughing for the pure thrill of the day, she spread her arms, creating a comely yellow-hued flower on the dark green sward while seeming every bit as fragile as a blossom to the man who watched her. With bliss-bedazzled eyes, she gazed through the treetops overhead where swaying branches, bedecked in the first bright green of spring, caressed the underbellies of the freshlet zephyrs, and the fleecy white clouds raced like frolicking sheep across an azure lea. Small birds played courting games, and the earlier ones tended nests with single-minded perseverance. A sprightly squirrel leapt across the spaces, and a larger one followed, bemused at the sudden coyness of his mate. Christopher came to Erienne and sank to his knees on the thick, soft carpet, then bracing his hands on either side of her, slowly lowered himself until his chest touched her bosom. For a long moment he kissed those blushing lips that opened to him and welcomed him with an eagerness that belied the once-cool maid. Then he lifted her arm and lay beside her, keeping her hand in his as he shared her viewpoint of the day. They whispered sweet inanities, talked of dreams, hopes, and other things, as lovers are wont to do. Erienne turned on her side and taking care to keep her hand in the warm nest, ran her other fingers through his tousled hair. “You need a shearing, milord,” she teased. He rolled his head until he could look up into those amethyst eyes. “And does my lady see me as an innocent lamb ready to be clipped?” At her doubtful gaze, he questioned further. “Or rather a lusting, long-maned beast? A zealous suitor come to seduce you?” Erienne’s eyes brightened, and she nodded quickly to his inquiry. “A love-smitten swain? A silver-armored knight upon a white horse charging down to rescue you?” “Aye, all of that,” she agreed through a giggle. She came to her knees and grasped his shirt front with both hands. “All of that and more.” She bent to place a honeyed kiss upon his lips, then sitting back, spoke huskily. “I see you as my husband, as the father of my child, as my succor against the storm, protector of my home, and lord of yonder manse. But most of all, I see you as the love of my life.” -Erienne & Christopher

all teachers in the content-based French immersion classes they observed used recasts more than any other type of feedback. Indeed, recasts accounted for more than half of the total feedback provided in the four classes. Repetition of error was the least frequent feedback type provided. The other types of corrective feedback fell in between. Student uptake was least likely to occur after recasts and more likely to occur after clarification requests, metalinguistic feedback, and repetitions. Furthermore, elicitations and metalinguistic feedback not only resulted in more uptake, they were also more likely to lead to a corrected form of the original utterance. Lyster (1998) has argued that students receiving content-based language teaching (where the emphasis is on meaning not form) are less likely to notice recasts than other forms of corrective feedback, because they may assume that the teacher is responding to the content rather than the form of their speech. Indeed, the double challenge of making the subject-matter comprehensible and enhancing knowledge of the second language itself within content-based language teaching has led Merrill Swain (1988) and others to conclude that ‘not all content teaching is necessarily good language teaching’ (p. 68). The challenges of content-based language teaching will be discussed further in Chapter 6.

suppose it’s not odd, then, that I have trouble reconciling my life to those of my friends, or at least to their lives as I perceive them to be. Charles and Camilla are orphans (how I longed to be an orphan when I was a child!) reared by grandmothers and great-aunts in a house in Virginia: a childhood I like to think about, with horses and rivers and sweet-gum trees. And Francis. His mother, when she had him, was only seventeen—a thin-blooded, capricious girl with red hair and a rich daddy, who ran off with the drummer for Vance Vane and his Musical Swains. She was home in three weeks, and the marriage was annulled in six; and, as Francis is fond of saying, the grandparents brought them up like brother and sister, him and his mother, brought them up in such a magnanimous style that even the gossips were impressed—English nannies and private schools, summers in Switzerland, winters in France. Consider even bluff old Bunny, if you would. Not a childhood of reefer coats and dancing lessons, any more than mine was. But an American childhood. Son of a Clemson football star turned banker. Four brothers, no sisters, in a big noisy house in the suburbs, with sailboats and tennis rackets and golden retrievers; summers on Cape Cod, boarding schools near Boston and tailgate picnics during football season; an upbringing vitally present in Bunny in every respect, from the way he shook your hand to the way he told a joke.

Awake ye muses nine, sing me a strain divine, Unwind the solemn twine, and tie my Valentine! Oh the Earth was made for lovers, for damsel, and hopeless swain, For sighing, and gentle whispering, and unity made of twain. All things do go a courting, in earth, or sea, or air, God hath made nothing single but thee in His world so fair! The bride, and then the bridegroom, the two, and then the one, Adam, and Eve, his consort, the moon, and then the sun; The life doth prove the precept, who obey shall happy be, Who will not serve the sovereign, be hanged on fatal tree. The high do seek the lowly, the great do seek the small, None cannot find who seeketh, on this terrestrial ball; The bee doth court the flower, the flower his suit receives, And they make merry wedding, whose guests are hundred leaves; The wind doth woo the branches, the branches they are won, And the father fond demandeth the maiden for his son. The storm doth walk the seashore humming a mournful tune, The wave with eye so pensive, looketh to see the moon, Their spirits meet together, they make their solemn vows, No more he singeth mournful, her sadness she doth lose. The worm doth woo the mortal, death claims a living bride, Night unto day is married, morn unto eventide; Earth is a merry damsel, and heaven a knight so true, And Earth is quite coquettish, and beseemeth in vain to sue. Now to the application, to the reading of the roll, To bringing thee to justice, and marshalling thy soul: Thou art a human solo, a being cold, and lone, Wilt have no kind companion, thou reap'st what thou hast sown. Hast never silent hours, and minutes all too long, And a deal of sad reflection, and wailing instead of song? There's Sarah, and Eliza, and Emeline so fair, And Harriet, and Susan, and she with curling hair! Thine eyes are sadly blinded, but yet thou mayest see Six true, and comely maidens sitting upon the tree; Approach that tree with caution, then up it boldly climb, And seize the one thou lovest, nor care for space, or time! Then bear her to the greenwood, and build for her a bower, And give her what she asketh, jewel, or bird, or flower — And bring the fife, and trumpet, and beat upon the drum — And bid the world Goodmorrow, and go to glory home!

Amy?" he breathed. Two dancers, caught up in the dance, didn't see him standing there and collided with him, nearly knocking him down. "Lord Charles!  I beg your pardon!" But he never heard them.  He never saw them.  He had eyes only for the stunning beauty who was being swept around the dance floor by Gareth's friend Perry.  She was a ravishing young woman in shimmering peacock and royal blue whose beauty commanded the eye, the attention, the heart — and made every other woman in the room pale to insignificance. Charles's mouth went dry.  His heartbeat cracked his chest and he forgot to breathe. Another set of dancers collided with him, knocking him to his senses.  Angrily, he stared into the amused eyes of Gareth's friend Neil Chilcot, another Den of Debauchery member who was partnering a grinning Nerissa.  "Gorgeous young woman, isn't she?" quipped Chilcot, sweeping Nerissa past.  "You should've stuck around to see her announced, Charles.  Not that you'll ever have a chance of claiming a dance with her now, what with all the young bucks before you already waiting . . ." Charles had heard enough.  But as he stalked across the dance floor, he heard even more. "Well, His Grace told me she's an heiress . . ." "Not just an heiress, but a princess from some vast Indian nation in America . . ." ". . . came here to offer her tribe's help in the war against the Americans . . ." Charles clenched his fists.  Lucien.  No one else could have, would have, started and circulated such a preposterously crazy rumor!  What the hell was his brother trying to do, get Amy married off to some handsome young swain and out of Charles's life forever?  This was no training for a lady's maid, that was for damned sure! His jaw tight, he stormed across the dance floor toward Amy.  He saw her hooped petticoats swirling about her legs and exposing a tantalizing bit of ankle with every step she took, the laughter in her face even though she kept glancing over Perry's shoulder in search of someone, the studied grace in her movements that, a week ago, he would've sworn she didn't have. She had not seen him yet, and as Perry, a handsome man who had something of a reputation with the ladies, led her through the steps, Charles felt a surge of jealousy so fierce, so violent, that it made him think of doing something totally irrational. Such as calling Perry out for dancing with his woman. Such as killing Lucien for whatever little game he was playing. Such

Who reads Incessantly, and to his reading brings not A spirit and judgment equal or superior Uncertain and unsettled still remains, Deep versed in books, and shallow in himself.

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You'll come with me to Vienna, of course," I said. It wasn't a question. Käthe blinked, surprised by my sudden turn in conversation. "What?" "You'll be coming with me to Vienna," I repeated. "Won't you?" "Liesl," she said, eyes shining with tears. "Are you sure?" "Of course I'm sure," I said. "It'll be just like the Ideal Imaginary." She laughed again, and the sound was as pure as a spring morning. The what-if games my little sister and I had played as girls had been ways to pass the time, a space we created untouched by the grime and grief of ordinary drudgery. A world where we were princesses and queens, a world as beautiful and as magical as any my brother and I had made together. "Just imagine, Käthe." I took her hand mine. "Bonbons and handsome swains waiting on us hand and foot." She giggled. "And all the silks and velvets and brocades to dress ourselves in!" "An invitation to a different ball every night!" "Masques and operas and parties and dancing!" "Schnitzel and Apfelstrudel and Turkish coffee!" "Don't forget the chocolate torte," Käthe added. "It's your favorite." I laughed, and for a moment, I allowed myself to pretend we were little girls again, when our wants and dreams were as closely entwined as our fingers. "What if," I said softly. "Not a what-if," my sister said fiercely. "A when." "When," I repeated. I could not stop smiling.

There is a fine line between arrogance and confidence. Arrogance is confidence pushed down people’s throats. Confidence is a beacon that they all want to follow, emulating your example.

Emma had always considered herself to be possessed of a few fortunate qualities, offset by the same number of drawbacks. She was brave, but when someone raised a threatening hand to her, that calm, faintly contemptuous expression on her face usually made the punishment far worse. She was strong, which made her able to withstand greater pain, both physical and emotional, whereas a weaker soul might dissolve into tears that would stop the torment. She considered herself to be passably pretty, though not quite in the common style, since she was built on large lines, but her height and her quiet life kept overeager swains at bay. Her face was lovely enough, yet her pale skin was marred by an unfortunate arrangement of freckles, and her brown eyes, pretty though they were, were alarmingly nearsighted. And there was the problem of her most unfortunate shade of hair. She would have given anything to have hair a plain, mousy brown, rather than the flame red she'd been born with. Miriam called her hair devil's silk.

The world was filled with clever killers who mistakenly believed that they’d never be caught. This was not true. Karma had everyone’s address,

Ever tried. Ever failed. No matter. Try again. Fail again. Fail better,

Janey had accepted the responsibilities of adulthood, and people like that didn’t run off on a moment’s notice.

Worst of all to be’s forms is the past perfect tense. You can recognize it by the word had—a red flag of danger in your story every time. For had describes not just a static state, but a static state in the past: “He had traveled far that day.” “I never had realized how much I loved her.” Each had makes your story jerk, because it jars your reader out of present action and throws him back into past history. Perhaps the jerk is only momentary, as when a lazy writer sticks in a bit of exposition: “John stared at her. He had always wondered why she took the attitude she did. Now, she left him no choice but to force the issue.” Here the jerk, the shift backward, is hardly noticeable. But throw in enough such, enough hads, and your story grinds to an aching, quaking halt. Forward movement stops. Your reader finds himself bogged down in history.

Grammar as a fetish? To keep rules in proper perspective, violate them by design only. That is, make them tools for manipulation of your reader’s emotions. If that takes sentence fragments, non-punctuation, stream-of-consciousness, and one-word paragraphs, by all means use them. Winston Churchill blazed the trail for all of us when he spoke his mind to the purists who insisted that no sentence end with a preposition: “This is one rule up with which I shall not put!” So, deviate if you must. But do it with malice and by intent, not accident.

I had a great many adventures on my trip." She glanced back at him, her eyelashes fluttering in womanly enticement. "You'd be astonished to hear them all." How did she do that? Beckon him with a glance, ensuring that he would trail after her like a lovesick swain? Two days ago she'd scarcely had the courage to look him in the eyes. A few kisses- a few very good kisses- and she was flirting. She added, "Someday I'll tell you... if you ask nicely." A cascade of climbing roses blossomed on trellises they passed, and she stopped and, with tender fingers, lifted a blossom. She smiled down at the furling petals, then, closing her eyes, she sniffed it deeply. "I love roses, especially yellow roses. They're not cherished like red roses, but they're invariably cheerful. Add them to a bouquet of lavender, and they make a heavenly smell and a beautiful display. Put them in a vase by themselves, and they nod and smile at everyone who passes.

She feigned a sip of her wine. It was claret, not port. It was, she thought, very like Nicolas to travel with his own cellar into a region famed for its wines. “I shall always think of you as a friend.” “Only a friend?” Nicolas arranged himself flatteringly at her feet. It was, Jane knew, a standard tableau, the young swain at the feet of his love. She could speak her lines, or she could change the dialogue, throw him off balance. “Said the amorous shepherd to his love? Do get up, Nicolas. I’ve come to you on a serious matter.” “What could be more serious than love?” But he rose all the same, drawing a chair to rest beside the divan. “If not for my so charming person, why are you here?” While his eyes were fixed on her face, Jane turned her hand over her cup, releasing the hidden catch in her ring. “I’ve come for Queen Maria,” she said calmly. Nicolas stared at her for a moment, his eyebrows rising to his carefully curled hair, and then he began to laugh. His laugh was one of his more charming attributes, a light tenor, and entirely unfeigned. “Only you, my Jeanne. Only you.