FORM AND MEANING IN LITERATURE A Study of Form as Micro-Structure 1) Some years ago I was on my way to a literature class walking along with a mathematician and a painter, when we happen to mention the idea of form. We all reacted immediately with fervor, the concept was important to all of us, obviously, but we never stopped to try to explain to the others exactly what we were thinking of, and as the years have passed, I have come to the conclusion that we were talking about entirely different things. I have observed that when people talk about form they are generally talking about a variety of things, so perhaps this would be a convenient point at which to pause, and make sone definitions and clear the air. 2) Form, as I am going to define it for my special purposes, is the reality-linked part of a thing which occupies space or dissipates energy in the real and manifest world. A sculpture has mass, lives in three dimensions at least, a quartet puts very complicated energy into the elastic air medium over a measured period of time, a poem seems perhaps less physical, but when read is just as energy-fulfilling as music, whereas when printed in black and white, it has a different identity in two dimensions. Form is physical in one way or another, it IS rather than it REPRESENTS something, and it must be taken exactly on this basis, being right there in front of you, or sounding exactly so, or sequencing these and those sounds out of a reading voice as the artist scored then. 3) People often use the word form for the structure or sequences of meaning. This should be harmless in itself, but people become fascinated by the structure of meaning, and often forget to look at or listen to the "form" in my sense at all. Form is the great blind spot in modern artistic perception, a great deal of attention is paid to meaning and the structure of meaning, and even such claptrap as the meaning of meaning, while form is ignored or seen as the kitchen maid who chopped up the onions and set the table. There is a considerable Classical predisposition toward this view, in Lucretius and Horace we clear about the relative roles of the useful and the decorative, the utile and the dulce, and like true Romans they always ended up preferring the useful. Americans understand this practicasl poreference well, but what about the possibility that at least half the real essence and value of a work of art lies in the dulce....? 4) Much of this mal-disposition comes from language itself, which codes us a lot of grunts and hisses and coughs, and makes them "mean something", at which point the exact nature of the carrier signal fades into forgetfulness. Language in its basic, communicative aspects is a process which opts for meaning, using the formal elements as signaling devices which carry the meaning from mouth to ear. As soon as we get the meaning, we can forget the form, But there are many exceptions: The ancient art of the consummate storyteller who spellbinds by a fusion of storyline with the presence of live words, the joke which works well with just these words and no substitutions, and of course the poem. Poetry is essentially a different kind of experience from communicative language, because it always must BE first, and only then tell something but it may also not tell something, and sometimes its telling something may be part of its physical being. Certainly that is part of the reason why people still have such trouble understanding Ezra Pound and his poems, which often let conventional meaning evaporate and finally speak for those who can understand, in pure form. 5) I have in my hand a piece of tough, greenish paper measuring about two by six inches. A child can tell you what it is, it's meaning is clear: It is One Dollar. I can make several equations with it's meaning, that is I can buy various things with it on it's face value, and this is really all I ever have to think of when pulling it from my wallet onto the counter. This is the "meaning" of the bill, but when I look at it carefully, and note all the little unnoticed details on this scrap of paper, then I am beginning to deal with "form". It does actually say FEDERAL RESERVE NOTE on top, arid it has numerals for "1" in the corners, in two sizes to be sure, each circled with a device of a different sort. George Washington's face is familiar enough, but not the frame of his portrait which defies verbal description. But this is all nothing compared to the reverse side, with its Great Seal on the right, still sporting anachronistically thirteen states' stars, no great surprise when compared with the leftside pyramid appearing from no historical context, a section curiously missing at the top replaced with a little triangle framing a squinting eye glowing happily between a Latin comment above and a Latin comment below, neither of which seem particularly relevant to the eye on the pyramid More "ones ", figured and lettered in case anyone was illiterate, and a lot of detail which I've just been examining with a Nikon 80x microscope, detail designed as foil to the forger in pre-photographic days. In God We Trust, and in the Federal Reserve system ---- all this on that paper and more if we had time, and all you said was "one buck...." The one dollar value is the meaning and everything else that I've been noting is in the realm of form. It appears there is some sort of antipathy between meaning and form, now you see the one and now the other. But the way it turns out, it is mainly the meaning which we are conscious of, and the form is discarded like the cob when we have finished munching off the kernels of sweet corn. 6) What can you get from the coefficient of meaning? Philosophy. --- And what can you get from the form? The rich experience of having dealt with another mind in the arena of art. 7) Of course preoccupation with form can go too far and we could well end up with a healthy yearning for an idea, one good thought. But that is not the way our modern world goes, academicians follow the Hellenistic Greek Longinus who declared that the great idea was the thing, and that form was the cloak of allurement which made the great idea acceptable if not interesting. The logical Romans and the logical Renaissance men found nothing odd about this, and our pedagogues who are neo-Classicists at heart, have established neo-Longinism as a way of reading poetry. A common sense view would hold it that a reasonable amount of idea-quotient coupled with a reasonable amount of form-consciousness would make a reasonably good poem, and it sometimes does work out that way. But we often prefer work which has a high idea-content, because it is easier for philosophy-oriented teachers of literature to deal with it in an authoritative and convincing manner. 8) But when the form dominates, we are in trouble. Vergil wrote Latin from the form side, he writes an Aeneid with story line and history sense and political propagandizing, but first and last, it is the inner and intimate sense of form which catches you at each line and threads you on to the next and the next. There is something uncanny about this, some have called it Vergil's magical art of writing between the lines, others breathe out a few phrases and listen to what they have said. If you read the Aeneid as a story, you will end up dry and shallow, if you look to the form you will have a book good for a lifetime of subtle reading.. 9) If we have trouble seeing Vergil's close dealing with form, what are we going to think about Pound, Joyce or Dylan Thomas? The easy answer it to look for hidden "great idea" cleverly concealed by the writer as a test of your ingenuity. Better is perceiving the form in word, sentence and page, letting it soak into your mind, until the form-sense begins to give you clues about what is on the other side of the dollar bill: Meaning. 10) For a moment let us be practical. How are we going to perceive form, is it a mystical sense than comes on you in deep meditation? Does it appear to geniuses alone? No, the path is direct, natural and the same as the nuts and blots of language we have been using since infancy. Start with the sounds, letters of the alphabet or phonemes as you will, notice that they have very different characteristics. The vowels are strong, loud, long and very musical as the Sound Spectrogram readout clearly shows, and they dance in a linguistic ballet from the tight, tense frontal vowels back through the mouth to the dim and deep back vowels. Even stronger and longer and more musical are the nasals, and the liquids (-1- and -r-), which establish heavy, murmurous and almost chocolaty if not ominous ambiances. Quite different in kind are the consonants, which are abrupt out-spurtings of sound from closed passages in the back or the front of the mouth; they are short, not easy to hear, crisp and sharp. Thinner and weaker than these but very remarkable in their airiness, are the breath or the air-sounds, which range from hisses and sibilancies to thinly disguised fricatives. Each of these four classes of sounds have a spectrum in its group, each is radically different from the others. These are the sound-spectrum with which the poet paints. 11) Such sounds are strung like pearls on a string through time, and each phrase will show similarities and symmetries, and well as the kind of directioning which the composer calls voice-leading. The poet's voice does lead with meaning, but the selection of sounds in series is his orchestration. 12) Music is for poetry the best teacher, since music does not in the strict sense have anything like "meaning", and the form, as seen in texture, orchestration,,melody line and sequencing is really all that there is. Perhaps the nearest thing to meaning would be the melody, and often un-musical persons will hear nothing more than the melody-line and hum it back to you as equivalent to the piece. The strange thing is that this humming of the tune is seen as a harmless simplification among musicians, but it's parallel, humming the theme of the poem, is very much the usual tune of teachers of literature. In schools we teach the themes, which we seem to think are the aim and purpose of poetical writing, and when the material is not amenable to this kind of analysis,. we set it aside as less interesting, minor, or not in the mainstream. If we think of colleges are preparatory schools for positions in industry and business, there is a crude sense to this kind of analysis, since in business it is the final meaning, the bottom line, which really counts, and form is relegated to the advertising department to be fancied up for maximum sales. But if we are speaking of art and the inner strivings of the spirit which make men and women search for personal forms in which to adumbrate half-conceived truths, then this insistence on the single-minded analysis of literature as meaning, or in a time frame, the structure of meaning, becomes an act of real falsification, since it not only says that meaning is kind, but it denies that there are other factors subtly exercising mysterious forces at the same time. 13) How do we proceed to get back to the full spectrum,how do we divest ourselves of blinkered critical vision which gives us meaning alone when we read? I am going to be practical and succinct, and say some very simple things that can easily be done: a) Listen to a lot of music, get someone to show you ALL the simultaneous things which are going on. This will take time if you don't have a musical education, but do pursue it. Mix in with the music readings of poets and actors reading sincerely, as a starter I suggest any readings of his work by E.E. Cummings, Sioban McKenna reading parts of Joyce's Finnegan's Wake, and anything read by Dylan Thomas. Listen again and again, memorize every intonation, take plenty of time, bore yourself if necessary. b) Now get any competent introductory text on phonetics and get a sense of what the sounds are like, in what parts of the vocal apparatus they are formed, and how the human ear and brain work. Try to ignore the formal overdose of nomenclature which phonetics always seems to sport, but remember there is sense in it all, sound-sense in fact, and take possession of this for your own uses. c) Now restrict your reading to almost zero. We have all been forced to read everything from biology textbooks to Sophocles at the rate of some forty pages an hour or more. We must stop this completely for a while, and read single pages, and if possible parts of pages. Memorize some paragraphs or even pages, not because memorizing is a worthy sign of zeal, but because it is the sure way to burn something into your brain. Burned in, forgotten, and recalled by the subtler processes of the unconscious integrator, you will now be ready to see form. d) For form is the sum total of the myriad ways in which combinations of sounds, rhythms, likenesses and discords, empty spaces, louds and softs, and other things too. It takes the full use of your rather remarkable brain so walk slowly in such unfamiliar territory and keep note of what you are getting into. 14) When you feel something exciting happening, when you notice little nodes of occurrances seeming to happen together in an agitated way, then the form will be speaking through to you. Now join this up with the meaning which you will have been perceiving all along, since meaning is much easier to grasp for those with our modern education. Even un-obvious meaning is fairly obvious after all. Never think that we can get away from meaning, it is everywhere and second nature to human brains. It is Form which we must strive after, since the world we live in has sacrificed so much in its racing need and constant desire to be explicit. Form is different, it is always totally implicit. 15) We must never think that the form is there to amplify and decorate the meaning, since form may work with the meaning or it may work in a quite contrary direction, as a counterfoil against the meaning.. As I said, the great master of "form as against meaning" is that Vergil, who has a curious way of sabotaging his purpose with a breath which seems to float in to us somehow from nowhere. Take the phrase SUNT LACHRYMAE RERUM, which is not really "God, the inherent sadness of things....". It doesn't really say that or anything like that, but it does implicitly breathe something ineffable sad, and it does it entirely through the graded nuances of Form.. Why does it work so powerfully ? (I have to speak to those who know a great deal of Latin, I am afraid. You can't get any of this in translation!) It took me time to divine, one day long ago, the ascending scale of the vowels, which as they reach the ladder top, fall off with a thud, along with the syllabic rhythms of the words, with the two gut-Roman words (sunt and rerum) sandwiching a very fancy imitation-Greek word (lachrymae) which turns out,with its two letters not in the Roman alphabet, to be a real Roman word under its doll's clothing. When I saw all this display, too fast to be the author's conscious plan and at the same time too subtly woven not to be a part of his inner mind, and felt it all as poetry rather than grammar --- I saw the door into the poet's mind opening and I was welcomed into a very special and private place in which to read Vergil the master. Reading the words years later I still feel a shudder, there are things which don't wear out with use. They wear in, and that is what poetry is all about. 16) Perhaps the best test case would be the culmination of James Joyce's development as it finalized in Finnegan's Wake. For whatever reasons, artistic, psychological or even psychotic as some have maintained, Joyce does things with the Meaning Level which make the book "unreadable" to most readers of English prose. The words can be normal English, or they can be Joyce-twisted English, they can fall into regular sentences, or they can display themselves in marvelously contorted fashion on the page. There are here meanings behind what we normally call "meaning", but they are hidden, secretified, and not to be grasped in the usual fashion. There are keys to open some of the secret doors, many scholars have unraveled individual sentences and parts of chapters, rivers, washerwomen, earwigs, garbled telephone numbers in French. But the deciphering does not give us back a great deal of meaning, because Joyce wanted to hide things from us, and much of what he hid is not to be revealed. Why this dishevelment of meaning, these contortions, these riddling paragraphs? Because Joyce is involved with sound, rhythm, the configuration of musical wording, all things which lie in the realm of Form. Meaning is the coat-hanger, a somewhat twisted old-fashioned wire coathanger, on which he hangs his many-colored coat of infinitely finely threaded form. So I know to read Joyce from the form end first, I intone his words aloud, read the words again and again with different interpretations, as I would approach Beethoven's Hammerklavier Sonata, stretching for the wide range of what the form will let me do with itself. I put William York Tindall's book (A Reader's Guide to Finnegan's Wake) on the back burner, and open my well worn out Viking Press edition of the Wake to page 556, and read for the thousandth entirely different time "Night by silentsailing night, when Infantina Isobel.... " in infinite tones of voice and delight, down to "...now evencalm lay sleeping." I do sense, rather than understand, Isobel's person, her retrogression through churchly stages, her inner self with wildwood's eyes and primarose hair, in mauves of moss and daphnedews........things to see in the mind's eye while hearing in the inner ear. I let the meaning come to me when it is ready, while I sing and hear the sounds in their exact order, their complex rhythmic and euphonic display. Why all this, and why done in this difficult way? Because Joyce has learned in his blindness that it is the ear which reaches the soul first, and word-weaving will be the work of his last years. When weaving you attend woof and warp, while the overall design slowly appears as if by itself. Great control of meaning-design is something he finally learned to let go, and plunged into sound-wording devised by a mind seeking in blindness new ways to see. Hear! Dark hawks hear us!......... Far calls. Coming, far! End here. William Harris Prof. Em. Middlebury College www.middlebury.edu/~harris

The Dog that takes you into the Bar

Two men are walking their dogs (a doberman and a chihuahua) when they say to each other "I'm thirsty." They see a nearby bar and walk up to it.

Unfortunately, there was a sign on the door that said NO DOGS. They thought for awhile to try to figure out what they should do with no luck. Suddenly, the man with the doberman said, "I have an idea! Do what I do."

The man put on his sunglasses, walked up to the door and tried to get in but a big muscular man stopped him. "Where do you think you're going?" asked the big man. "This is my seeing-eye dog." said the man hoping for good feedback. "Alrighty mister, go right in." said the big man. The doberman man walked in.

The second man slipped his sunglasses on and did the same as the first man. "Where are you going?" asked the big man. "I'm going into the bar, this is my seeing-eye dog." he said. "A chihuahua?" asked the big man with suspicion. The other man, playing his part yelled, "They gave me a chihuahua!?"

Pentingnya Belajar Bahasa Inggris

by Belajar Bahasa Inggris Gratis in Belajar Bahasa Inggris

Terus terang, sangat penting untuk mengetahui bahasa untuk komunikasi. Secara umum, bahasa yang paling populer adalah bahasa Inggris. Dalam era komputer ini, bahasa Inggris adalah satu-satunya bahasa yang dapat dimengerti di setiap negera di dunia. Jadi bahasa Inggris saat ini sudah menjadi bahasa yang ideal untuk digunakan oleh setiap orang. Pertama, kita harus belajar bahasa dan kemudian kita harus memperoleh kelancaran dalam bahasa. Kecuali kita memiliki kefasihan dalam bahasa Inggris, tidak akan mungkin bekerja dengan komputer. Jika Anda tidak tahu bahasa Inggris, maka Anda akan memerlukan sebuah penerjemah untuk melakukan pekerjaan.

Tahap pertama belajar bahasa ini akan sangat menarik. Setelah Anda lancar dengan abjad, perlahan-lahan Anda dapat belajar banyak kata. Ini akan selalu menjadi lebih baik untuk mengikuti metode membaca pertama, kemudian menulis. Anda dapat menggunakan buku-buku bergambar untuk tujuan ini. Ketika Anda merasa bahwa Anda sudah familiar dengan kata-kata, Anda dapat membentuk kalimat. Ini adalah tahap yang paling menarik untuk belajar. Anda hanya memikirkan suatu kalimat dalam bahasa ibu Anda, dan mencoba untuk menulis kalimat yang sama dalam bahasa Inggris. Mungkin ada beberapa kesalahan. Tetapi Anda tidak perlu repot-repot tentang hal itu. Tapi, Anda harus menulis kalimat yang sama dengan menggunakan banyak kata-kata yang berbeda sampai Anda puas dengan kalimat Anda. Jika Anda mengikuti cara ini, sangat segera Anda dapat membuat kalimat-kalimat Anda sendiri.

Langkah selanjutnya adalah belajar tata bahasa. Hal ini cukup sederhana dan sangat sistematis dibandingkan dengan bahasa lain. Ada aturan-aturan dan peraturan tertentu untuk masing-masing dan setiap topik dalam tata bahasa ini. Selama Anda mengikuti peraturan dan regulasi, itu akan menjadi tugas yang sulit untuk membuat kesalahan. Anda akan mendapatkan banyak panduan dari tata bahasa.
Presentasi merupakan faktor yang paling penting dalam mengkomunikasikan perasaan Anda. Jadi, tentu saja Anda harus yakin ketika Anda sedang melakukan presentasi. apa yang Anda benar-benar ingin mengatakan. Pada setiap titik, jangan mencoba untuk menulis atau berbicara, di luar kemampuan Anda. Bahkan jika itu adalah sebuah kalimat yang sederhana dan kecil, akan mencapai penerima sempurna. Ini adalah ide dasar kita. Perlahan-lahan, Anda dapat meningkatkan standar bahasa dengan praktek Anda. Jika Anda tahu untuk membentuk kalimat, itu lebih dari cukup untuk pergi jauh ke dalam subjek. Walaupun ini hanya sebuah artikel tentang pentingnya Bahasa Inggris, kita harus belajar beberapa hal mendasar dalam menyajikan kalimat.
Ada tiga jenis kalimat: Mereka adalah,
1. Pernyataan. 2. Kalimat interogatif. 3. Kalimat imperatif. 4. Seruan kalimat. Untuk memulainya, Anda harus tahu perbedaan antara frase dan kalimat.

Frase adalah kelompok kata, yang memberikan makna, tetapi makna tidak lengkap.
Kalimat adalah sekelompok kata-kata, yang membuat perasaan lengkap. 1. Pernyataan: The kalimat yang diawali dengan kata benda atau kata ganti dikenal sebagai pernyataan. Contoh: Roma adalah sebuah gereja kota. 2. Interogatif kalimat: Ada dua jenis kalimat interogatif. a. “Wh” type pertanyaan. Kalimat dimulai dengan arungan berikut adalah “wh” jenis pertanyaan. Apa, Kapan, Di mana, Siapa, Berapa banyak, berapa lama dan sebagainya.
Contoh: Mengapa kau datang terlambat? 2. Apa yang Anda lakukan di sana? b. “Ya atau tidak” pertanyaan jenis. Yang kalimat Anda mendapatkan balasan baik dengan ya atau tidak mereka disebut ya atau tidak pertanyaan tipe.
Contoh: Apakah ayahmu seorang dokter? Jawabannya: Tidak, Sir. 3. Imperatif kalimat: Kalimat yang memberikan perintah, permintaan, dan nasihat dikenal sebagai kalimat yang diminta. Contoh: Berjalan di trotoar. 2. Makan teratur. 4. Seruan kalimat: Kalimat yang tiba-tiba mengungkapkan perasaan atau emosi yang kuat dikenal sebagai seruan kalimat. Contoh: Aduh! Dia sudah mati. 2. Oh Apa pemandangan yang indah.

Bila Anda sudah familiar dengan poin di atas, akan sangat menarik untuk Anda untuk menciptakan banyak kalimat-kalimat indah.
Secara umum, kalimat-kalimat itu dibagi menjadi tiga jenis. Mereka,
1. Kalimat sederhana. 2. Kalimat majemuk. 3. Kalimat kompleks.

Meskipun sangat penting untuk memiliki pengetahuan dalam menangani kalimat-kalimat di atas, kita harus mempelajarinya secara terpisah. Dalam esei ini, kita berbicara tentang pentingnya bahasa.
Banyak orang membuat kesalahan bahkan dengan penggunaan artikel. Sayang bahwa bahkan sarjana mungkin melakukan kesalahan. Jadi, Anda tidak boleh kecewa dengan gaya Anda menulis.

Ada banyak perbedaan antara kedua. 1. beberapa 2. sedikit
Bila Anda ingin mengatakan bahwa Anda memiliki teman, Anda harus mengatakan bahwa, “Aku punya beberapa teman.”
Bila Anda ingin mengatakan bahwa anda tidak punya teman, Anda harus mengatakan bahwa, “Aku punya beberapa teman.”

Ini adalah kebalikan makna kata, banyak.
Selain ini, ada banyak poin yang akan dibicarakan nanti.
Ketika Anda merasa bahwa Anda sudah kuat di mata pelajaran di atas, Anda dapat mengembangkan pengetahuan Anda untuk kemajuan pengetahuan Anda. Selama anda mendidik diri sendiri, Anda akan menemukan banyak hal baru. Tidak ada akhir untuk belajar. Semua poin di atas digunakan dalam penggunaan normal bahasa Inggris. Nilai literatur Bahasa Inggris sama sekali berbeda dan harus ditangani secara terpisah.

Suka Belajar Bahasa Inggris

by Belajar Bahasa Inggris Gratis in Belajar Bahasa Inggris

Saya sangat suka bahasa Inggris. Aku sudah berbicara itu seumur hidup, tapi tidak sampai aku menjadi guru bahasa Inggris, pengajaran bahasa Inggris sebagai bahasa asing, bahwa aku benar-benar mulai untuk mengerti bagaimana fungsi dan menghargai baik dalam kekayaan dan fleksibilitas.

Saya percaya bahwa, pada tingkat dasar, bahasa Inggris lebih mudah dipelajari dibandingkan bahasa lain. Seorang pemula dapat membentuk kalimat dasar yang baik tanpa mengetahui banyak bentuk-bentuk tata bahasa kompleks. Verba Inggris tidak memiliki banyak menghafal akhiran berbeda sebelum seseorang dapat mengungkapkan pikiran yang paling sederhana.

Titik kuat lainnya adalah bahwa Inggris tidak, sebagai suatu peraturan, memiliki maskulin dan feminin kata benda dan tidak ada formulir untuk mengubah kata sifat untuk memperlambat seorang pelajar turun. Sebagai contoh, dalam bahasa Prancis Anda harus menghafal sejumlah kata kerja dan mencocokkan akhiran kata sifat untuk kata benda sebelum Anda dapat verbalisasi ide-ide yang paling sederhana sekalipun, tetapi seorang pemula tidak perlu belajar bahasa Inggris untuk waktu lama sebelum dapat membangun dasar yang baik kalimat.

Inggris memiliki kosa kata campuran dengan akar Jermanik dan kosa kata dengan akar bahasa Latin atau Perancis, memungkinkan penutur berbagai bahasa Eropa untuk mengenali dan mengerti banyak kata bahasa Inggris. Meskipun kadang-kadang makna tidak lagi sama dalam dua bahasa, mereka sering masih cukup serupa untuk melayani sebagai bantuan untuk pemahaman dan untuk membantu pelajar mendapatkan inti teks-teks.

Setelah inggris peserta didik telah mencapai tingkat yang lebih maju, mereka menjadi terkena struktur tambahan yang mengungkapkan beberapa kompleksitas yang tak terduga dalam bahasa. Sebagai contoh, penggunaan perfect tense sekarang bisa sangat membingungkan. Di sisi lain, bentuk-bentuk kata kerja bahasa Inggris memungkinkan unsur indah subjektivitas dan sudut pandang dalam menyatakan sikap terhadap peristiwa. Pertimbangkan “Aku baru saja kehilangan kacamata saya” dan “Saya kehilangan kacamata saya satu jam yang lalu.” Keduanya baik, tetapi pilihan Anda satu atau yang lain yang mencerminkan sikap Anda terhadap situasi. Apakah Anda ingin menekankan konsekuensi kehilangan kacamata Anda? Jika demikian, maka memilih yang pertama, sekarang perfect tense. Jika Anda memilih untuk fokus pada saat kacamata hilang, lalu menggunakan cara kedua, masa lalu tegang sederhana.

Inggris dapat menjadi luar biasa ekspresif. Karena telah mengumpulkan kosakata dari berbagai bahasa, ada jauh lebih kata-kata untuk memilih dari dibandingkan dengan beberapa bahasa lain tawarkan. Anda dapat membahas topik panjang lebar tanpa pernah mengulang overusing diri sendiri atau kata tertentu. Anda dapat memilih dari serangkaian kata-kata dengan makna yang sama untuk menemukan yang paling cocok dalam makna dan konotasi yang sesuai dengan pikiran bahwa Anda ingin mengekspresikan.

Tentu saja, Anda dapat berjalan-jalan, tetapi Anda juga dapat berjalan-jalan, pawai, amble, berderap, bergelandangan, shuffle, lompat, lari, ras, berjalan, meloncat-loncat, menyelinap, terbang, zip, merangkak, berpacu, jagoan, zoom, atau miring ke jalan. Sebuah pandangan sekilas mengungkapkan bahwa bagian inggris kamus dwibahasa saya adalah jauh lebih besar daripada bagian Perancis. Besarnya kosa kata bahasa Inggris memungkinkan untuk ketepatan dan ekonomi berekspresi. Ide dan petunjuk ringkas dapat dinyatakan. Ketika melihat tanda-tanda multibahasa dan penggunaan peralatan manual, versi bahasa Inggris seringkali lebih pendek daripada banyak bahasa lainnya. Untuk mengambil sebuah contoh sederhana, dalam bahasa Prancis diperlukan empat kata, “pied sautez sebuah topi mungil,” untuk mengungkapkan apa inggris tidak hanya dalam tiga huruf: “hop.”

Inggris dengan mudah menyerap kata-kata baru dari bahasa lain dan budaya. Hanya berpikir tentang “salsa,” “hamparan,” “tabu,” “wampum,” dan “piyama,” untuk pemula. Bila perlu, Inggris juga tampaknya menikmati menemukan sama sekali baru dalam kamus kata-kata, seperti teknologi baru seperti Internet. Internet penuh dengan warna-warni dan lucu gambaran dari “web” ke “spidering” dan “klik pada mouse,” apalagi kata-kata terdengar konyol seperti itu sebagai “Googling,” “blogging,” dan “WIKI.” Ini adalah riotously “hidup” bahasa dan fleksibilitas ini telah membantu Inggris menjadi seperti yang digunakan secara luas bahasa internasional.

Saya juga suka bahasa Inggris karena warna-warni susunan kata dan gambaran hidup berlimpah-limpah di baik lama dan baru ekspresi. Aku membayangkan kapal layar tinggi dan film-film Errol Flynn ketika aku mendengar seseorang berkata, “Ia lulus ujian dengan terbang warna.” Pikirkan ungkapan lain juga, seperti “Itu membuat saya merinding,” “Ini dikirim menggigil atas dan ke bawah tulang belakang saya,” “Dia punya kepala di awan,” “Dia penuh bangun dan pergi,” dan ” Mereka lintang pukang cinta. ”

Inggris bahkan memiliki rasa yang kuat imajinasi, sehingga cocok untuk kombinasi menyenangkan alliterative phrasings seperti “seluruh kit dan caboodle,” atau “Footloose dan senang dan bebas.” Ini juga penuh dengan kata-kata yang lucu terutama untuk anak-anak. Pikirkan “choo-choo kereta api,” “anak anjing,” “kucingku kucing,” atau “melakukan tipu muslihat.” Fun-loving penulis telah ditambahkan ke pesta dengan merasa bebas untuk menemukan kata-kata mereka sendiri, hanya untuk suara menyenangkan mereka, dari Edward Lear’s “Dong dengan Luminous Hidung” untuk Dr. Seuss’s “Sneeches dengan bintang-bintang di thars.” JK Rowling telah menciptakan seluruh kosakata sendiri untuk digunakan dalam dunia sihir bahwa ia telah menciptakan bagi Harry Potter. Yang disebut “bahasa Shakespeare” telah menyumbang banyak sastra dan puisi ke dunia, ditambah ungkapan-ungkapan indah lainnya dari abstraksi pikiran melalui kata-kata. Sebagai seseorang yang menulis cerita untuk anak-anak, aku juga suka jingle sederhana dan menyenangkan bentuk seperti Mother Goose rhymes.

Sekarang saya guru bahasa Inggris, saya mencoba untuk membuka banyak misteri bahasa Inggris bagi siswa yang mempunyai bahasa lain sebagai bahasa ibu mereka. Dengan melakukan hal itu, saya telah mengambil lebih dekat melihat bahasa sendiri, di semua kompleksitas dan inkonsistensi, seluruh aturan dan kelimpahan dari pengecualian terhadap aturan-aturannya sendiri, dalam kosa kata dan nuansa yang sangat besar dalam nuansa makna. Bila mungkin, saya mencoba untuk memberikan murid-murid saya logika di balik tata bahasa, sehingga mereka dapat memperoleh pemahaman yang lebih dalam proses berpikir di balik banyak cara kita memandang waktu, bukan hanya menghafal aturan siswa secara acak.

Untuk meletakkan inggris ke dalam perspektif dan membuat tunjangan karena banyak keistimewaan, saya mencoba menjelaskan secara singkat sejarah Inggris dan banyak pengaruh sejarah yang telah mempengaruhinya, dari serangkaian invasi awal dari Kepulauan Inggris, oleh orang-orang seperti Roma, Saxon, Viking, dan Normandia, untuk kemudian membangun Kerajaan Inggris di seluruh dunia, dan kemudian ke Amerika multi budaya dan bahasa dari seluruh dunia. Dengan masing-masing grup baru telah datang infus kosakata baru. Beberapa unsur pemahaman dari perspektif sejarah yang dapat menjelaskan kepada siswa baik kekayaan ekspresi dan kosakata yang dimiliki Inggris, ditambah inkonsistensi menjengkelkan dalam bahasa Inggris ejaan dan pengucapan. Aku bukan ahli bahasa lain dan saya tidak mengatakan bahwa bahasa Inggris adalah bahasa terbaik di dunia, tapi, seperti yang telah saya mengajar bahasa Inggris kepada orang lain selama bertahun-tahun, penghargaan saya sendiri itu telah tumbuh tak terkira dan aku benar-benar datang menyukainya.

Bahasa Indonesia lebih simpel dari Bahasa Inggris

Ini artikel copas, tapi lucu juga hehehehe......

In English : “Would you care to validate your previous statement?”
In Indonesian : “SUMPE LO?!
In English : “Sorry, I think you miscalculated your own capabilities to handle the task at hand.”
In Indonesian : “Nenek lu kiper!
In English : “Would you care to elaborate on that statement?”
In Indonesian : “MAKSUD LOH?!”
In English : “There’s a 75% chance I won’t make it, I’m far too busy for ur stupid event.”
In Indonesian : “Insya’allah gw dateng!”
In English : “The meeting will start at 9:15 AM. Please be there 15 minutes beforehand.”
In Indonesian : “Rapatnya jam 8!”

In English :”Let’s try this new scam and see if those carbo-ladden brains buy it”
In Indonesian : “Mama minta pulsa”
In English : “Please stop by our outlet. There might be stuff you’ll find interesting.”
In Indonesian : “Giordanonya, Kakaaak!”
In English : “I’ve stumbled upon something that might be of interest to you. You might find it useful.”
In Indonesian : “CEKIDOT GAN!”
In English : “I’m so overwhelmed by this turn of event that I’m speechless and in awe.”
In Indonesian : “ANJROT!”
In English : “This is a very interesting topic that everybody should stay updated about this.”
In Indonesian : “Sundul, Gan!”
In English : “I definitely won’t make it. You guys go and have fun without me.”
In Indonesian : “Ntar gue nyusul.”
In English : “You’re absolutely, positively 100% correct. But I knew that already.”
In Indonesian : “EMBEER!”
In English : “That’s so profound. I can’t contribute anything further but I need to say something to sound equally smart.”
In Indonesian : “Dalem.”

sumber: http://hermawayne.blogspot.com/2010/10/bukti-kalau-bahasa-indonesia-lebih.html