هذا واجب المقال .....:(269):

water
wars
vitamins
learning english
a good muslem



write a topic sentence then 4 or 5 supporting sentence

وبس ...:cool:

المشاركة الأصلية كتبت بواسطة Diamond brooch (المشاركة 6090326) هذا واجب المقال .....:(269): water wars vitamins learning english a good muslem write a topic sentence then 4 or 5 supporting sentence وبس ...:cool:

اخذتوا محاضرة مع ليلى العقيلي اليوم ؟
فيه واجب للاسبوع الجاي؟

ايه اخذنا اليوم ....:biggrin:

الاسبوع الجاي نبدا بروايه جديده ..
بس مااعرف اسمها ..:(284):

المشاركة الأصلية كتبت بواسطة Diamond brooch (المشاركة 6098494) ايه اخذنا اليوم ....:biggrin: الاسبوع الجاي نبدا بروايه جديده .. بس مااعرف اسمها ..:(284):

بناااااااااااااااااااات

حنا محتاجين تفريغ للشعر ....:biggrin:

بس المبلغ ماوصل حتى للنص ...:icon120:

يعني احتمال كبير مافيه ...:sm4:

يليت اللي مادفعت تدفع ...:53:

كم ريال فدوه عن راحتنا واعصابنا:icon120:

في بنات يقولون مايحتاج

بالعكس

لان النت بااايخ ولا مفيد مثل التفريغ وواضح
ونعرف المطلوب ..:cheese:

لو اعتمدنا ع النت ننصدم في
وقت الاختبار بطريقه الاسئله
والاجابه مو جاهزه:bawling:

واحس هالسمستر حصه شرحت ...:58545:

بليزززززززززز بنات
نبي نخلص من سنه ثالثه ....:sm1:

خلنا نتعاون لمصلحتنا كلنا بالنهايه ...:000:

وبالتوفيق جميعا ...:004:

مجرد نصيحه..:tongue:

المشاركة الأصلية كتبت بواسطة شتاء عمري (المشاركة 6097624) لغويات 3 اسبوع

بناااااااااااااات

كيف بتذاكرون ...الشعر ...؟؟:Looking_anim:

والباك قرواند ومين نذاكره قالت ؟؟:Looking_anim:

بس حبيـت آسآل وش آسمآء آلقصآيد يلي معنآ بـ آلشعر هم آربعه بس آبي آعرف وش هم وآذآ حد عنده تفريغ يفزع لنـآ جبنآ فلوسنآ بس محـد عطآنآ وجه :sm5:




إيـِه أنَّـآ { بِنّتٍ مَآ بَهْآ نَقّص أوُ |خَسَّآرهـْ
دّآمِنّي بِنّتٍ لـِ أُبُويْ ّافْتِخِر إنّي ! بِنّيـِهْ :060:

المشاركة الأصلية كتبت بواسطة ليان محمد (المشاركة 6106147) :106::106::106: Thanksدخلت e وتوهقت الفال لك a+ يارب

من بؤك لباب السماء

اجمعين ..

:106:

Robert Browning
Analysis
Browning’s most important poetic message regards the new conditions of urban living. By the middle of the nineteenth century, the once-rural British population had become centered in large cities, thanks to the changes wrought by the Industrial Revolution. With so many people living in such close quarters, poverty, violence, and sex became part of everyday life. People felt fewer restrictions on their behavior, no longer facing the fear of non-acceptance that they had faced in smaller communities; people could act in total anonymity, without any monitoring by acquaintances or small-town busybodies. However, while the absence of family and community ties meant new-found personal independence, it also meant the loss of a social safety net. Thus for many city-dwellers, a sense of freedom mixed with a sense of insecurity. The mid-nineteenth century also saw the rapid growth of newspapers, which functioned not as the current-events journals of today but as scandal sheets, filled with stories of violence and carnality. Hurrying pedestrians, bustling shops, and brand-new goods filled the streets, and individuals had to take in millions of separate perceptions a minute. The resulting overstimulation led, according to many theorists, to a sort of numbness. Many writers now felt that in order to provoke an emotional reaction they had to compete with the turmoils and excitements of everyday life, had to shock their audience in ever more novel and sensational ways. Thus violence became a sort of aesthetic choice for many writers, among them Robert Browning. In many of his poems, violence, along with sex, becomes the symbol of the modern urban-dwelling condition. Many of Browning’s more disturbing poems, including “Porphyria’s Lover” and “My Last Duchess,” reflect this notion.
This apparent moral decay of Victorian society, coupled with an ebbing of interest in religion, led to a morally conservative backlash. So-called Victorian prudery arose as an attempt to rein in something that was seen as out- of-control, an attempt to bring things back to the way they once were. Thus everything came under moral scrutiny, even art and literature. Many of Browning’s poems, which often feature painters and other artists, try to work out the proper relationship between art and morality: Should art have a moral message? Can art be immoral? Are aesthetics and ethics inherently contradictory aims? These are all questions with which Browning’s poetry struggles. The new findings of science, most notably evolution, posed further challenges to traditional religious ideas, suggesting that empiricism—the careful recording of observable details—could serve as a more relevant basis for human endeavor, whether intellectual or artistic.
In exploring these issues of art and modernity, Browning uses the dramatic monologue. A dramatic monologue, to paraphrase M.H. Abrams, is a poem with a speaker who is clearly separate from the poet, who speaks to an implied audience that, while silent, remains clearly present in the scene. (This implied audience distinguishes the dramatic monologue from the soliloquy—a form also used by Browning—in which the speaker does not address any specific listener, rather musing aloud to him or herself). The purpose of the monologue (and the soliloquy) is not so much to make a statement about its declared subject matter, but to develop the character of the speaker. For Browning, the genre provides a sort of play-space and an alternative persona with which he can explore sometimes controversial ideas. He often further distances himself by employing historical characters, particularly from the Italian Renaissance. During the Renaissance in Italy art assumed a new humanism and began to separate from religion; concentrations of social power reached an extreme. Thus this temporal setting gives Browning a good analogue for exploring issues of art and morality and for looking at the ways in which social power could be used (and misused: the Victorian period saw many moral pundits assume positions of social importance). Additionally, the monologue form allows Browning to explore forms of consciousness and self-representation. This aspect of the monologue underwent further development in the hands of some of Browning’s successors, among them Alfred Tennyson and T.S. Eliot.
Browning devotes much attention not only to creating a strong sense of character, but also to developing a high level of historic specificity and general detail. These concerns reflected Victorian society’s new emphasis on empiricism, and pointed the way towards the kind of intellectual verse that was to be written by the poets of high Modernism, like Eliot and Ezra Pound. In its scholarly detail and its connection to the past Browning’s work also implicitly considers the relationship of modern poets to a greater literary tradition. At least two of Browning’s finest dramatic monologues take their inspiration from moments in Shakespeare’s plays, and other poems consider the matter of one’s posterity and potential immortality as an artist. Because society had been changing so rapidly, Browning and his contemporaries could not be certain that the works of canonical artists like Shakespeare and Michelangelo would continue to have relevance in the emerging new world. Thus these writers worried over their own legacy as well. However, Browning’s poetry has lasted—perhaps precisely because of its very topical nature: its active engagement with the debates of its times, and the intelligent strategies with which it handles such era-specific material

Themes, Motifs and Symbols
Themes
Multiple Perspectives on Single Events
The dramatic monologue verse form allowed Browning to explore and probe the minds of specific characters in specific places struggling with specific sets of circumstances. In The Ring and the Book, Browning tells a suspenseful story of murder using multiple voices, which give multiple perspectives and multiple versions of the same story. Dramatic monologues allow readers to enter into the minds of various characters and to see an event from that character’s perspective. Understanding the thoughts, feelings, and motivations of a character not only gives readers a sense of sympathy for the characters but also helps readers understand the multiplicity of perspectives that make up the truth. In effect, Browning’s work reminds readers that the nature of truth or reality fluctuates, depending on one’s perspective or view of the situation. Multiple perspectives illustrate the idea that no one sensibility or perspective sees the whole story and no two people see the same events in the same way. Browning further illustrated this idea by writing poems that work together as companion pieces, such as “Fra Lippo Lippi” and “Andrea del Sarto.” Poems such as these show how people with different characters respond differently to similar situations, as well as depict how a time, place, and scenario can cause people with similar personalities to develop or change quite dramatically.
The Purposes of Art
Browning wrote many poems about artists and poets, including such dramatic monologues as “Pictor Ignotus” (1855) and “Fra Lippo Lippi.” Frequently, Browning would begin by thinking about an artist, an artwork, or a type of art that he admired or disliked. Then he would speculate on the character or artistic philosophy that would lead to such a success or failure. His dramatic monologues about artists attempt to capture some of this philosophizing because his characters speculate on the purposes of art. For instance, the speaker of “Fra Lippo Lippi” proposes that art heightens our powers of observation and helps us notice things about our own lives. According to some of these characters and poems, painting idealizes the beauty found in the real world, such as the radiance of a beloved’s smile. Sculpture and architecture can memorialize famous or important people, as in “The Bishop Orders His Tomb at Saint Praxed’s Church” (1845) and “The Statue and the Bust” (1855). But art also helps its creators to make a living, and it thus has a purpose as pecuniary as creative, an idea explored in “Andrea del Sarto.”
The Relationship Between Art and Morality
Throughout his work, Browning tried to answer questions about an artist’s responsibilities and to describe the relationship between art and morality. He questioned whether artists had an obligation to be moral and whether artists should pass judgment on their characters and creations. Unlike many of his contemporaries, Browning populated his poems with evil people, who commit crimes and sins ranging from hatred to murder. The dramatic monologue format allowed Browning to maintain a great distance between himself and his creations: by channeling the voice of a character, Browning could explore evil without actually being evil himself. His characters served as personae that let him adopt different traits and tell stories about horrible situations. In “My Last Duchess,” the speaker gets away with his wife’s murder since neither his audience (in the poem) nor his creator judges or criticizes him. Instead, the responsibility of judging the character’s morality is left to readers, who find the duke of Ferrara a vicious, repugnant person even as he takes us on a tour of his art gallery.
Motifs
Medieval and Renaissance European Settings
Browning set many of his poems in medieval and Renaissance Europe, most often in Italy. He drew on his extensive knowledge of art, architecture, and history to fictionalize actual events, including a seventeenth-century murder in The Ring and the Book, and to channel the voices of actual historical figures, including a biblical scholar in medieval Spain in “Rabbi Ben Ezra” (1864) and the Renaissance painter in the eponymous “Andrea del Sarto.” The remoteness of the time period and location allowed Browning to critique and explore contemporary issues without fear of alienating his readers. Directly invoking contemporary issues might seem didactic and moralizing in a way that poems set in the thirteenth, fourteenth, and fifteenth centuries would not. For instance, the speaker of “The Bishop Orders His Tomb at Saint Praxed’s Church” is an Italian bishop during the late Renaissance. Through the speaker’s pompous, vain musings about monuments, Browning indirectly criticizes organized religion, including the Church of England, which was in a state of disarray at the time of the poem’s composition in the mid-nineteenth century.
Psychological Portraits
Dramatic monologues feature a solitary speaker addressing at least one silent, usually unnamed person, and they provide interesting snapshots of the speakers and their personalities. Unlike soliloquies, in dramatic monologues the characters are always speaking directly to listeners. Browning’s characters are usually crafty, intelligent, argumentative, and capable of lying. Indeed, they often leave out more of a story than they actually tell. In order to fully understand the speakers and their psychologies, readers must carefully pay attention to word choice, to logical progression, and to the use of figures of speech, including any metaphors or analogies. For instance, the speaker of “My Last Duchess” essentially confesses to murdering his wife, even though he never expresses his guilt outright. Similarly, the speaker of “Soliloquy of the Spanish Cloister” inadvertently betrays his madness by confusing Latin prayers and by expressing his hate for a fellow friar with such vituperation and passion. Rather than state the speaker’s madness, Browning conveys it through both what the speaker says and how the speaker speaks.
Grotesque Images
Unlike other Victorian poets, Browning filled his poetry with images of ugliness, violence, and the bizarre. His contemporaries, such as Alfred, Lord Tennyson, and Gerard Manley Hopkins, in contrast, mined the natural world for lovely images of beauty. Browning’s use of the grotesque links him to novelist Charles Dickens, who filled his fiction with people from all strata of society, including the aristocracy and the very poor. Like Dickens, Browning created characters who were capable of great evil. The early poem “Porphyria’s Lover” (1836) begins with the lover describing the arrival of Porphyria, then it quickly descends into a depiction of her murder at his hands. To make the image even more grotesque, the speaker strangles Porphyria with her own blond hair. Although “Fra Lippo Lippi” takes place during the Renaissance in Florence, at the height of its wealth and power, Browning sets the poem in a back alley beside a brothel, not in a palace or a garden. Browning was instrumental in helping readers and writers understand that poetry as an art form could handle subjects both lofty, such as religious splendor and idealized passion, and base, such as murder, hatred, and madness, subjects that had previously only been explored in novels.
Symbols
Taste
Browning’s interest in culture, including art and architecture, appears throughout his work in depictions of his characters’ aesthetic tastes. His characters’ preferences in art, music, and literature reveal important clues about their natures and moral worth. For instance, the duke of Ferrara, the speaker of “My Last Duchess,” concludes the poem by pointing out a statue he commissioned of Neptune taming a sea monster. The duke’s preference for this sculpture directly corresponds to the type of man he is—that is, the type of man who would have his wife killed but still stare lovingly and longingly at her portrait. Like Neptune, the duke wants to subdue and command all aspects of life, including his wife. Characters also express their tastes by the manner in which they describe art, people, or landscapes. Andrea del Sarto, the Renaissance artist who speaks the poem “Andrea del Sarto,” repeatedly uses the adjectives gold and silver in his descriptions of paintings. His choice of words reinforces one of the major themes of the poem: the way he sold himself out. Listening to his monologue, we learn that he now makes commercial paintings to earn a commission, but he no longer creates what he considers to be real art. His desire for money has affected his aesthetic judgment, causing him to use monetary vocabulary to describe art objects.
Evil and Violence
Synonyms for, images of, and symbols of evil and violence abound in Browning’s poetry. “Soliloquy of the Spanish Cloister,” for example, begins with the speaker trying to articulate the sounds of his “heart’s abhorrence” (1) for a fellow friar. Later in the poem, the speaker invokes images of evil pirates and a man being banished to hell. The diction and images used by the speakers expresses their evil thoughts, as well as indicate their evil natures. “Childe Roland to the Dark Tower Came” (1855) portrays a nightmarish world of dead horses and war-torn landscapes. Yet another example of evil and violence comes in “Porphyria’s Lover,” in which the speaker sits contentedly alongside the corpse of Porphyria, whom he murdered by strangling her with her hair. Symbols of evil and violence allowed Browning to explore all aspects of human psychology, including the base and evil aspects that don’t normally appear in poetr




“Memorabilia”
Complete Text
Ah, did you once see Shelley plain,
And did he stop and speak to you?
And did you speak to him again?
How strange it seems, and new!

But you were living before that,
And you are living after,
And the memory I started at—
My starting moves your laughter!

I crossed a moor, with a name of its own
And a certain use in the world no doubt,
Yet a hand’s-breadth of it shines alone
’Mid the blank miles round about:

For there I picked up on the heather
And there I put inside my breast
A moulted feather, an eagle-feather—
Well, I forget the rest.
Summary
According to historical anecdote, this poem stems from an encounter Browning had with a person who had once met the poet Percy Bysshe Shelley (Shelley died quite young, when Browning himself was only ten). Browning reacted with awe when the man described his meeting with the famed poet, and the man is said to have laughed at him for this reaction. This short lyric relates Browning’s feelings about this encounter to his feelings at walking across a moor and finding an eagle’s feather.
Form
“Memorabilia” consists of four four-line stanzas, written in iambic tetrameter. The stanzas rhyme ABAB. The form appears frequently in William Wordsworth’s lyrics, and this poem does have an almost Wordsworthian outlook: it is contemplative and spiritual, and parallels the natural world to the human one.
Commentary
The title of this poem suggests a kind of memory that is linked with physical objects. Browning’s encounter with the man who has met Shelley takes its importance from the fact that this man was once physically with Shelley and is now physically with Browning. This second-degree encounter with the great poet, now dead, corresponds metaphorically to the second-degree encounter with the eagle, now flown away having left only a feather; but the encounters also correspond physically, in that the physical object of the feather triggers the thought of the human encounter. This suggests a much more mundane and direct concept of natural reality and memory than that postulated by the Romantics (to whom Shelley belonged). Neither the encounter with the feather (nature) nor the memory of Shelley result in rapture or epiphany in Browning’s poem (as they do in Romantic lyrics); rather, they imply a sense of loss and distance, of separation.
Indeed, not only does memory fail to lead to rapture, it has very little evocative power at all: Browning does not remember the rest of his walk on the moor beyond the finding of the feather. Moreover, Browning places little faith here in the life of the mind, the ability of analysis: he finds himself unable to elaborate more on the relationship between the feather and the man who met Shelley. Yet somehow this world of mundane physical objects and faint mental suggestions can provide as much material for poetry as the wild spiritual inspirations of Shelley’s “West Wind” or Wordsworth’s daffodils.

المشاركة الأصلية كتبت بواسطة شموخي قهر عذالي (المشاركة 6107673) بنات امتحان النثر اللي عندهم السبت الى اي بوك ؟

المشاركة الأصلية كتبت بواسطة ليان محمد (المشاركة 6107681) بنات الحين في سكشن بيمتحن بويتري الاثنين اذا ايه بليز ابي رقم الكلاس والوقت بالضبط :g2:

انا ماعندي تفريغ للشعر ،
ممكن الي جالسا الحين تذاكر من تفريغ ، تذكرني فيه :139:

شعر+1+2.doc
شعر+3-4.doc
شعر+5+6.doc
شعر+7.doc
شعر+8.doc

ولآتنسون آلآوراق آلي طبعنآها موجوده وحده من البنوتات حاطتها فوق عن براونينغ ..

هـذا آلآمتحآن كآمل
رآح يكون آلـ background و poets آختيآري و آلـ poems آسئله قصيره ..:106:

بــ آلتوفيق و ربعـن تعآونو مـ ذلوو < برااا بسس :hahahahahah:

بنآت بس حبيـت آقولكم شغله من كل :004:..

آلمسآله درآسه وعلم وكلن منآ يبي ينجح ويعدي مآ هو وقت كل وحده تفكر هذي مآدفعت وهذي تدبر نفسهآ دأم عندي ليش آبخل دعوه تسوى 150 ريآل ، في آوقات ماهيب وقت تفكير آلآمتحان السبت واذا مابدو عالاقل يقرون الملازم اليوم بكره بينضغطون ولافيه مجال آذا عندتس شي حطيه :119: ..

وربـي يجزى آلي آرسلتها لي آلجنه ويجعل لها من كل ضيق مخرج :004:
:106:

المشاركة الأصلية كتبت بواسطة в7т ѕнσ0σg (المشاركة 6108159) بنآت بس حبيـت آقولكم شغله من كل :004:.. آلمسآله درآسه وعلم وكلن منآ يبي ينجح ويعدي مآ هو وقت كل وحده تفكر هذي مآدفعت وهذي تدبر نفسهآ دأم عندي ليش آبخل دعوه تسوى 150 ريآل ، في آوقات ماهيب وقت تفكير آلآمتحان السبت واذا مابدو عالاقل يقرون الملازم اليوم بكره بينضغطون ولافيه مجال آذا عندتس شي حطيه :119: .. وربـي يجزى آلي آرسلتها لي آلجنه ويجعل لها من كل ضيق مخرج :004: :106:

Book 5: Wheat and Tares

1. Discuss the importance of foreshadowing in Chapter 4 of this book. How is it connected to Eliot's use of water imagery?

2. Eliot certainly could have had Mr. Tulliver die before seeing his debts paid off. Why is it significant that he lives long enough to see them overcome through Tom's resourcefulness?

3. In what sense is Tom successful in upholding the memory of his father, and in what sense is he unsuccessful?

المشاركة الأصلية كتبت بواسطة lamo0o (المشاركة 6108399) بناااااات بليز اللي تعرف اجوبة اسئلة بووك 5 للنثر تساعدني Book 5: Wheat and Tares 1. Discuss the importance of foreshadowing in Chapter 4 of this book. How is it connected to Eliot's use of water imagery? 2. Eliot certainly could have had Mr. Tulliver die before seeing his debts paid off. Why is it significant that he lives long enough to see them overcome through Tom's resourcefulness? 3. In what sense is Tom successful in upholding the memory of his father, and in what sense is he unsuccessful? البنات اللي امتحنوووو اللي تعرف الللللللللللللللللللله يوفقها ترررد:Cry111:

سبقتيني ، كنت جاية انزل التغريغ هنا ،
سلم يدينك ان شالله ،
ويوفقك الكل ،



:rose:

المشاركة الأصلية كتبت بواسطة ~ luna (المشاركة 6109691) صبآح الخير بنآت كيفكم آللحين د.ليلى > نثر قآلت تبي نحل اسئلة الكتاب7 مو 7و6 صح بس 7 ؟؟؟؟ وهل بتجمع الاوراق ولآ بس مشآإركككةة آفيدوني .. الله يجزآكم الف خير وبخصوص شعر مع د حصةةة >> في تفريغ او شرح لقصيدة وول:000: !! نزلت هي شي بالقروب غير ميموربلآ >> آحسسسسسسسها مهمة نص الاختبار منهآآآآآآآآآآ

المشاركة الأصلية كتبت بواسطة ~ luna (المشاركة 6109691) صبآح الخير بنآت كيفكم آللحين د.ليلى > نثر قآلت تبي نحل اسئلة الكتاب7 مو 7و6 صح بس 7 ؟؟؟؟ وهل بتجمع الاوراق ولآ بس مشآإركككةة آفيدوني .. الله يجزآكم الف خير وبخصوص شعر مع د حصةةة >> في تفريغ او شرح لقصيدة وول:000: !! نزلت هي شي بالقروب غير ميموربلآ >> آحسسسسسسسها مهمة نص الاختبار منهآآآآآآآآآآ

شنو سالفة النثر انا ماحضرت ممكن تقولين لي وش طلبت الله لايهينك :106:

بخصوص الشعر ماعندي هالمادة .

الي عندها مقدمة لتفريغ آخر ، اتمنى المساعدة ،
حتى مقدمة الشعراء ، بجد مافرغّت شي جديد:"(

:rose:

المشاركة الأصلية كتبت بواسطة ~ Luna (المشاركة 6109691) صبآح الخير بنآت كيفكم آللحين د.ليلى > نثر قآلت تبي نحل اسئلة الكتاب7 مو 7و6 صح بس 7 ؟؟؟؟ وهل بتجمع الاوراق ولآ بس مشآإركككةة آفيدوني .. الله يجزآكم الف خير وبخصوص شعر مع د حصةةة >> في تفريغ او شرح لقصيدة وول:000: !! نزلت هي شي بالقروب غير ميموربلآ >> آحسسسسسسسها مهمة نص الاختبار منهآآآآآآآآآآ

المشاركة الأصلية كتبت بواسطة Diamond brooch (المشاركة 6108179) :eek: و poets آختيآري ... متاكده ماسمعتعها جاب طاري..الا الباك قرواند اختياري..:g2:

بنات احد متأكد من هالمعلومه ..
ان الشاعر معنا بالاختياري
بليززز ...:biggrin:

المشاركة الأصلية كتبت بواسطة Diamond brooch (المشاركة 6108088) بناااااااااااات :33_asmilies-com: احد كاتب ... نماذج اسئله مع الدكتوره .. سواء كان واجب او من الشرح ...يفيدنا ...؟؟:139: وبالنسبه للباك قرواند انا ضايعه فيه .. ماادري بتجب اختياري اعتمدع شنو ؟؟:139: وامممم يليت قروب الاحد اللي اختبروا بالباك قرواند ..يكتبون اسئلتهم ؟؟:Looking_anim: ويعطيكم العافيه.....:106: كل وحده تعرف معلومه تحطها....:10111: وان شاء الله الكل يستفيد ...:004: وياااااااااااااااااااااااااااااااااااااااااااااااا اااااااااااااااااارب توفيقك ...:sm1:

المشاركة الأصلية كتبت بواسطة هتان7ano0 (المشاركة 6110621) بنات انا ذاكررت بس استغفرالله احس انه رااح مع الهواااء ... كله كلام نت ومفرداات صعبه و التفريغ ساامج .... وبذااات memorablii >> الي عارفه السالفه تشرحها لي تكفووووووووون أحس اني ضايعه .... وفاقده حماس الدراااسه :sm1:..... مدري احس مافيه شي عليه الكلام وينحفظ و ينكتب ع الوررق .... ألأختبار كم عليه .... ؟ وبعدين التفريغ حق أليزاابث برااونق مو عاجبني أحس فيه اشياء ناقصه .. مثل ألأسئله الي قالتها في نهاية المحاضره ... :139:.. يالله ان شاءالله ينلغي الاختبار لسببن من الاسباب ... :10111:.. أو تكووووووووف ألأسئله مررره سهله و نايس ونطلع مبسووووووووطين .. ( ان شاءالله )

بناااااااااااااات
هذه القصيده لها شرح او لا ؟؟؟؟
في التفريغ مافي الا سطرين عنها ...:eek:

A wall
Robert Browning
:017:

المشاركة الأصلية كتبت بواسطة ليان محمد (المشاركة 6111204) بنات ماجوبتوني ريحوني الله يهدي بالكم الحين سكشن الاثنين بويتري متى امتحانهم لانو في بنت قالت لي انو مافي امتحان بويتري الا السبت والاحد طيب وسكشن الاثنين كيف بيكون وضعهم ؟؟؟؟:(107):

الي تسأل عن الي تنزله الدكتورة بالقروب ،
ترى مانزلت الا الميموربيلا وروبرت براونينغ ،
+ بحاول اجمع الي كتبته مع الدكتورة ونحط هنا ، لان التفريغ فيه اشكالية فقط بالمقدمة الي عن العصر ، وعن التعريف بالشاعرة اليزابيث ،
+ كمان انا سبق وقلت للدكتورة احنا ماناخذ الا من الكلام الي انتي تشرحينه ، لذلك باذن الله مافيه رعب من قصيدة وول ، الا من الي هي قالته ،
فالي بتساعد بليز ، تساعدنا بالي كتبته عن الشاعرة اليزابيث ، وعن المقدمة الي في العصر ،


+ تذكروا ساعة الاستجابة اليوم ، وذكرونا وسنذكركم ،
:rose:

المشاركة الأصلية كتبت بواسطة شتاء عمري (المشاركة 6111744) هذا الي عندي عن العصر ومتاكده من النقاط الي قالتهم 1- ليش سمي بالفكتورين ؟ 2 _law corn 3_industrial revolution 4_كيف المراء والاطفال يشتغلون كثير 5 كيف لادب عندهم كان 6_ التعليم 7_the characteristics of victorian poetry يمكن فيه نقاط بالورقه ماذكرتها لان هذا الي اذكره معها بالكلاس المهم انا متاكده من المعلومات يعني العصر ادرسوا الي نزلته بس ودعواتكم :106:

المشاركة الأصلية كتبت بواسطة شتاء عمري (المشاركة 6111744) هذا الي عندي عن العصر ومتاكده من النقاط الي قالتهم 1- ليش سمي بالفكتورين ؟ 2 _law corn 3_Industrial Revolution 4_كيف المراء والاطفال يشتغلون كثير 5 كيف لادب عندهم كان 6_ التعليم 7_The characteristics of Victorian poetry يمكن فيه نقاط بالورقه ماذكرتها لان هذا الي اذكره معها بالكلاس المهم انا متاكده من المعلومات يعني العصر ادرسوا الي نزلته بس ودعواتكم :106:

المشاركة الأصلية كتبت بواسطة zoze (المشاركة 6112282) السلام عليكم .. بنااات بليز حد يشرح لي القصيده الاولى م فهمتها " a curse for a nation " بلييييز بنات حد يشرحها شرح مبسسسسط :bawling:

جواب السؤال الاول :
there is none better than her to do so due to her bounding knowledge
وكمان الكلام الي تحته تكتبينه ، لانه تابع للاجابة الي هي شخصيتها كشاعرة ، تلقينه في صفحة 10

جواب السؤال الثاني :
الاحداث السيئة الي تحصل هي :
low rights and security for emergent working class
imperialism
the expansion towards outside of england
the maintenance of the military
expansion abroad costing poverty inside the country



:rose:

المشاركة الأصلية كتبت بواسطة diamond brooch (المشاركة 6112994) يليت اللي حضرت المحاضره تكتب النقاط الرئيسيه في الشرح عن قصيده a wall:icon120: ربي يوفقهاااا الي تحل هالازمه...:bawling:

حبيبتي د.حصه ماشرحتها شرح وافي للقصيده
انا كنت اشارك معاها و كل مره اقول اجابه وهي توافق عليها
مثلا الجدار هذا ممكن يكون يقصد فيه اكثر من شي
1- زوجته
2-مشاكل عصره "تعددينها وتعلقين عليها" بس اللي ترتبط بالقصيده مو كلهم
3-احلامه
4- رغباته
5-مرور الزمن على الجدار يزيده قوه ويصعب تجاوزه
6-الجدار له وجهين الاول يشير للحياه والثاني الموت
7-كيف انه عاش بجهة الظل من هذا الجدار خلال حيات زوجته وماقدر يعبره الا بوفاتها لانه ماصار مشهور الا بعد ما توفت
8- الجدار يشير للقوه يعني تقدرين تربطينه بشهرت زوجته او بقوة المشاكل بعصره


اتمنى اني افدتك
دعواتكم

Browning’s Memorabilia
Ah, did you once see Shelley plain,
And did he stop and speak t you,
And did you speak to him again?
How strange it seems and new!
But you were living before that,
And also you are living after,
And the memory I started at –
My starting moves your laughter.
I crossed a moor, with a name of its own
And a certain use in the world, no doubt,
Yet a hand’s breadth of it shines alone,
Mid the blank miles roundabout:
For there I picked up on the heather and there I put inside my breast,
A moulted feather, an eagle feather!
Well, I forget the rest.
Annotations and explanations
Stanza 1
Once in a second hand book-stall the poet heard a man talking to the book seller of something Shelley had once said to him. Browning, a great admirer of Shelley, looked at him with open eyed wonder. The man a stranger, laughed at seeing Browning startled so much. For him, Shelley meant nothing, and so he could not understand the strange reaction of Browning.
The poem is addressed to this stranger, this man without soul. The poet asks him if he had the honor of meeting Shelley face to face and talking with him. It must have been a strange and thrilling experience.
Plain: plainly; face to face; at close quarters.
Stanza 2
The man was living even before he met Shelley and he continued to live even after his meeting with the poet. It seems that the meeting with the great poet did not inspire him or make any difference in his life, for he laughed at the startled look on the face of the poet.
Stanza 3
In this stanza, the poet tells the stranger that meeting Shelley face to face would have made a grat difference in his life. He explains the idea with reference to his experience on a wide and barren moor. He crossed the vast wasteland which must have a name of its own use and value. But for him a small space alone of that vast wasteland has value and significance, because there he had some inspiring experience.
Memorabilia: memorable things (Latin)
Moor: a tract of wasteland
Shines alone: is alone of significance to the poet.
Blank miles: the vast expanse of the wasteland.
Stanza 4
A little space of the moor is of significance for the poet, for it was there that he found a feather which had been shed by an eagle. He placed the feather inside his breast pocket, and has forgotten everything else about the moor. In the same way, in a man’s life there are certain experiences which are inspiring and illuminating. Only such moments in life count; the rest of the life is like a vast desert of little significance. For him talking with Shelley would have been such an illuminating experience.
Heather: an expanse of wasteland; a desert
A moulted feather: a feather shed by an eagle bird.
Introduction and Appreciation
Memorabilia was published in the volume of poems entitled< Men and Women, 1855, and was republished in 1863, in the Dramatic Lyrics. It is a short lyric in four stanzas, of four lines each. Though it is included in the Dramatic Lyrics, the poem is a personal lyric, as it grew out of a personal experience of the poet. Its title is Latin and it means, “things worth remembering.”
The poet was a great lover of Shelley and had read his poems with zest. His early poem Pauline reveals Shelley’s influence at every step, and it also contains a glowing tribute to the poet. Once it so happened that on entering a book stall, the poet heard another customer, a stranger, talking of Shelley and narrating how he had once met the great romantic poet and talked with him. Browning listened to him with open eyed wonder. The man, to whom Shelley meant nothing, laughed at the ‘startled’ look on the face of the poet. He could not appreciate his strange reaction.
In the present poem, Browning addressed the soulless stranger and asks him if he really had the honour of meeting Shelley face to face and talking with him. It must have been a thrilling experience. He had been living even before he met the great romantic poet, and he continued to live even after the meeting. But the meting with the poet must have transformed and illumined his life. At least, this must have been so in his case.


There are certain experiences in our life which alone are of value and significance, which alone are worth remembering. The rest of human life is barren and useless, like a wasteland. The poet illustrates the points through a metaphor taken from nature. Suppose a man journeys through a vast tract of wasteland. In one part of it, he finds a feather shed by an eagle and keeps it in his breast pocket. He values it highly and while the rest of the wasteland is forgotten, the small bit of land, where he had found the feather, is always remembered. Similarly, there are a few experiences in life which are valuable and worth remembering. They are treasured in memory while many other things are forgotten.
Had he met Shelley and talked with him, he would have cherished the illuminating experience forever and ever.
The language is lucid and clear. The poem is easy to understand. The symbolic use of nature is charming and illuminating. The meter used is Iambic and alternate lines rhyme in each stanza.
Form
“Memorabilia” consists of four four-line stanzas, written in iambic tetrameter. The stanzas rhyme ABAB. The form appears frequently in William Wordsworth’s lyrics, and this poem does have an almost Wordsworthian outlook: it is contemplative and spiritual, and parallels the natural world to the human one.
Commentary
The title of this poem suggests a kind of memory that is linked with physical objects. Browning’s encounter with the man who has met Shelley takes its importance from the fact that this man was once physically with Shelley and is now physically with Browning. This second-degree encounter with the great poet, now dead, corresponds metaphorically to the second-degree encounter with the eagle, now flown away having left only a feather; but the encounters also correspond physically, in that the physical object of the feather triggers the thought of the human encounter. This suggests a much more mundane and direct concept of natural reality and memory than that postulated by the Romantics (to whom Shelley belonged). Neither the encounter with the feather (nature) nor the memory of Shelley result in rapture or epiphany in Browning’s poem (as they do in Romantic lyrics); rather, they imply a sense of loss and distance, of separation.
Indeed, not only does memory fail to lead to rapture, it has very little evocative power at all: Browning does not remember the rest of his walk on the moor beyond the finding of the feather. Moreover, Browning places little faith here in the life of the mind, the ability of analysis: he finds himself unable to elaborate more on the relationship between the feather and the man who met Shelley. Yet somehow this world of mundane physical objects and faint mental suggestions can provide as much material for poetry as the wild spiritual inspirations of Shelley’s “West Wind” or Wordsworth’s daffodils.

مسسسيتوؤو بـ آلخيـر ي قميييلآت :004: ..

آخبــآر آلشعـر :biggrin: ههههههههههههههههههههههههههههههه << فآطسسسه من كثر مآجبت آلعيـد وش ذآ يقهر :000: آلـ مقآلي آحسن من آلأختيـآري :007: < منـك لله يـ د.حصه هههههههههههههههههههههههه :hahahahahah: ..

جآبت 28 مدري 26 فقره آختيآري فيهآ من آلبآك قرآوند وحوالي 10 آو آقل من آلفقرات عآلقصآيد وآلشعآر مآذكر آلآ شي قليل رآح آكتبه حسب فهمي وآلـ مقآلي كآن حلو تتكلميـن بشكل موجز عن آلــ A Curse For A Nation بس يعنـي تتكلمين عن آلكآتب من و آهم شي آنهآ Lyric وآلبآقي شرحتس آنتـي ..

آمـآ آلأختيـآري كآن ....
" في فقره عن تآريخ عصر آلفيكتورين آلي هو من 1837-1901 .. وفي عن آلفيكتورين آشيآء آنآه مآ ذكر قد مرت علي ..

كآن في فقره جآبت فيهآ وش آسم آلجآمعه آلي كآن فيهآ تنسن ..

وفي 3 فقرات كآنت عن آليزآبيـث برآونينـغ وحده عن آسم كتآب لهآ و فقره عن آول من نشر كتآبهآ هل هو عمها آو آمها آو آبوهآ آو آخوها .. وفقرة عنهآ آنه وفآة شخص كآن له تآثيـر عليهآ وخيآرآت آلآجآبه نفس آلي قبله هل آخوهآ آبوهآ آو آمها ..

وفي فقره عن آلــ crossing the bar تكون آلآجآبه آسم آلقصيده وآلكآتب آلي هو تنسـن ..

وفقرتين وحده كآنت جأيبه آلمقطع هـذآ ..
When fools cast taunts at your gate,
Your scorn ye shall somewhat abate
As ye look o'er the wall;
For your conscience, tradition, and name
Explode with a deadlier blame
Than the worst of them all.

تكتبيـن آلمقطع من آي قصيده وآلفقره آلي بعدهآ من كآتبهآ طبعـآ هي من آلــ A Curse For A Nation لــ Elizabeth Barrett Browning وآنآه شفت كلمه the wall حسبتهـآ حقت روبرت بس مآكآن the wall من ضمن آلآختيآرآت ..

هـذآ آلي آذكره وآهم شي آلي مآ آختبرو يركـزون على ألآختيآرآت بعضهـآ متشآبهه تششكك..:(284):

ههههههههههههههههههههه << بآقي مغبونه قآهرهـآ آلآمتحـآن :lllolll:

ربـي يوفقكـــم ويسهل آلآمتحـآن وتكون آسئلتكــم آسهل وآحلى :106: :10111:

نور آلعيــون ي عسسسسل :106: ..

آللغ ــويآت رآح يكون من Chapter 11 + 12 ..

آلآسئلـه رآح تكون آلتعـآريف آلي خذنآهآ و آلإكسرسأيزز آلي حلينآهآ معه و آشر عليهـآ وفي آشيـآء محذوفه آذا هي عندتس آو آبشري آحطهـآ لتس آنآه ..

وآهم شي آلــ / regular and irregular verbs هذي آكد عليهـآ وقآل مو بس آلي درسنـآهآ حتى آلي بـ آلنت ندخل نذآكرهآ هنآ رآبط لموقع حلو فيه جدول يـ رب يفيدتس و آلجميع :119:

http://www.polseguera.com/freegrammar/irregularverbs.htm

:004: :106:

المشاركة الأصلية كتبت بواسطة в7т ѕнσ0σg (المشاركة 6115767) نور آلعيــون ي عسسسسل :106: .. آللغ ــويآت رآح يكون من chapter 11 + 12 .. آلآسئلـه رآح تكون آلتعـآريف آلي خذنآهآ و آلإكسرسأيزز آلي حلينآهآ معه و آشر عليهـآ وفي آشيـآء محذوفه آذا هي عندتس آو آبشري آحطهـآ لتس آنآه .. وآهم شي آلــ / regular and irregular verbs هذي آكد عليهـآ وقآل مو بس آلي درسنـآهآ حتى آلي بـ آلنت ندخل نذآكرهآ هنآ رآبط لموقع حلو فيه جدول يـ رب يفيدتس و آلجميع :119: http://www.polseguera.com/freegrammar/irregularverbs.htm :004: :106:

آلعفـو فديتتس ولو :004: ..

آهم شي لآتنسون آلدعـآء يـ بنـآت توكلـو عليـه ومآيعيـننآ آلآ هو :119: ..

دعاء البدء بالدراسة والحفظ:
اللهم إني أسألك فهم النبين وحفظ المرسلين والملائكة المقربين, اللهم أخرجنا من ظلمات الوهن، وأكرمنا بنور الفهم،وافتح علينا بمعرفة العلم،وحسن اخلاقنا بالحلم،وافتح علينا أبواب جودك وخزائن رحمتك يا أرحم الراحمين.

اللهم اجعل السنتنا عامرة بذكرك وقلوبنا بخشيتك وأسرارنا بطاعتك. انك على كل شيء قدير وحسبنا الله ونعم الوكيل.

دعاء الإنتهاء من الدراسة والحفظ:
اللهم استودعك ما قرأت وما حفظت وتعلمت،فرده لي عند حاجتي إنك على ما تشاء قدير..

:106:

^

يعطيك العافيه قلبو ..:004:
ماقصرتي...:106:
ربي يوفقك و
ان شاء الله تاخذين درجه حلوه:10111:

الباك قرواند ... لحظتو الدكتوره ركزت ع شنو بنات ..:g2:

الاداب مثلا
ولا الاحداث اللي صارت ..
ولا .....
بليز..:icon120: