Few things can be understood in this 3D reality we exist within. Much can be comprehended – but comprehension is just logical reasoning. If one must deduce, they do not understand. Understanding is simply the acknowledgement of truth. Truth is over complicated in our current realm of western society. Truth, in actuality is the most simplistic concept ever to exist. Truth is beauty. Everything is beautiful.
Therefore, beauty can be seen within everything, as every object/person/place serves a purpose and possesses within it the potential to please something. Truth is, essentially, an actual state of matter or being. Since everything we interperate exists, it is true, and because everything that exists holds infinite potential and serves meaning or purpose, everything is beautiful.
Beauty is the manifestation of imaginations True pleasures. The Mind, The Brain and The Body are all to homo sapien sapiens. We know nothing except: we exist. We do not know if this dimension is real or if it is but a lucid dream. We do not know if others are only a phantom image from our imaginations. We do not even know what our Earth looks like. We accept our realities, or reject them depending on personal choice. The individuals' interpretation of this realm of understanding is everything within this society. We are all the masters of ourselves. A Deity may exist – a higher power – but we do not know. We do not know what happens before birth, and we do not know what happens after death. All we truly know is that we are currently existing as the beauteous individual we are. We homo sapien sapiens find ultimate truth in our beautiful selves; we must to exist in this realm of Earth.
Beauty is a quality present in a thing or person that gives intense pleasure or deep satisfaction to the mind, whether arising from sensory manifestations (as shape, color, sound, etc.), a meaningful design or pattern, or something else (as a personality in which high spiritual qualities are manifest). [i] Essentially, each individual decides what they define as beautiful depending on their moralities and ethics, biases, history, and interpretations. Each individual finds beauty within very different things – though there are similarities between the masses vitality. We chose what is beautiful through a positive attraction towards or a negative repulsion against any person, place thing, or idea depending upon our inner qualities and accepted personal truths.
Truth is the true or actual state of a matter. [ii] Matter is the substance or substances of which any physical object consists or is composed.[iii] Humans consist of matter, physical and mental. If truth is natural actuality, then humans simply must actualize true self in order to exist beautifully.
One simply must take time to understand Their Selves. We must aknowledge and accept that we are all The Fool who must endeavor this journey of enlightenment that is Life. We are all simple travelers who overcomplicate the infinite unknown road before us. We must not stare at a screen, which is but a filter of 'the rose'. We must engage ourselves firmly within our passions and spawn goals from our own personal interests. We must courageously embrace the unknown events of our chosen consequences of action. We must choose to decide for ourselves, for we are the only ones who truly know which beauties we wish to ignore and the beauties we will to experience.
“'Beauty is truth, truth beauty,' - that is all ye know on earth, and all ye need to know.”
John Keats.
Sunday, April 5, 2009
Monday, March 23, 2009
Ode to A Nightingale
1 . Must all poems be sonnets of unrequited love? To even suggest so is blasphemy. Keats seeks the companionship of the forest, and all its citizens. Keats is dying of tuberculosis, and being trained as a doctor, understands fully his condition. This poem is honoring the vitality of the bird and unearths his frailty and weakness.
Of course, this particular bird is not immortal, it is the symbol of the Nightingale he is addressing. The sweet, melodious winged thing freely flying and singing because it must out of pure elation and divine nature. John is experiencing this instance with all the glory and wide-eyed melancholy of a doomed man. He soaks the sedation of the forest, but longs for more. He seeks the indulgence of some satiating drink to hush his weary, tragic mind.
Keats is dying and is blessed with the true beauty of his surroundings. He sees the forest as we have not, can not. He seeks the natural purity of unspoilt existence. He hopes to forget himself and all his suffering in the untainted sublime forest, and he finds the symbol of pure joy. To which he so contrasts yet idolizes. He so badly wants to forget himself in this proud Ecstasy of song, but cannot.
After writing his emotions and sensations and this wondrous experience, his lost imaginings recount themselves and recollect his presence. He can lose himself in his pen no longer. He realizes his reality and in a daze, utters his tragedy of physical state.
2. This cry of adoration is everything the Romantic Spirit embodies. This poem is a deeply ardent; passionate; fervent moan of an unquenchable thirst for a life full of love and true beauty. The Romantic Spirit lived within Keats. He saw the world in a golden haze and knows own self as a portal to death. Yet he wishes to purge himself of such horrific suffering - so, he goes on a truly Romantic adventure into the wild forest to view and soak in the amorous sights of the natural, mythical, faery realm of his imaginings, wishes and wakeful dreaminess.
3.
1.
-Keats seeks the companionship of the forest, and all its citizens.
"And with thee fade away into the forest dim."
-This poem is honoring the vitality of the bird and unearths his frailty and weakness.
"The voice I hear this passing night was heard
In ancient days by emperor and clown."
-The sweet, melodious wing'ed thing freely flying and singing because it must out of pure elation and divine nature.
"But being too happy in thine happiness,
That thou, light-wingèd Dryad of the trees,
In some melodious plot."
-He seeks the indulgence of some satiating drink to hush his weary, tragic mind.
"O for a draught of vintage! that hath been
Cool'd a long age in the deep-delvèd earth"
"O for a beaker full of the warm South!"
-He so badly wants to forget himself in this proud Ecstasy of song, but cannot.
"Fade far away, dissolve, and quite forget
What thou among the leaves hast never known,
The weariness, the fever, and the fret"
-He realizes his reality and in a daze, utters his tragedy of physical state.
"Forlorn! the very word is like a bell
To toll me back from thee to my sole self!"
2.
- he goes on a truly Romantic adventure into the wild forest to view and soak in the amorous sights of the natural, mythical, faery realm of his imaginings, wishes and wakeful dreaminess.
"Dryad of the trees,"
"Away! away! for I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,"
"Tasting of Flora and the country-green"
"Charm'd magic casements, opening on the foam
Of perilous seas, in faery lands forlorn."
Throughout this epic poem, Keats repeatedly uses imagery. Every sentence contains a beautiful image.
This whole poem is told through 1st Person Point-of-view.
P.S.
You first introduced me John Keats and this poem in grade 10. This is the poem that inspired me to write poetry. Thank you. By and by, you are an exceptional English teacher.
P.S.S.
(I mean it.)
Of course, this particular bird is not immortal, it is the symbol of the Nightingale he is addressing. The sweet, melodious winged thing freely flying and singing because it must out of pure elation and divine nature. John is experiencing this instance with all the glory and wide-eyed melancholy of a doomed man. He soaks the sedation of the forest, but longs for more. He seeks the indulgence of some satiating drink to hush his weary, tragic mind.
Keats is dying and is blessed with the true beauty of his surroundings. He sees the forest as we have not, can not. He seeks the natural purity of unspoilt existence. He hopes to forget himself and all his suffering in the untainted sublime forest, and he finds the symbol of pure joy. To which he so contrasts yet idolizes. He so badly wants to forget himself in this proud Ecstasy of song, but cannot.
After writing his emotions and sensations and this wondrous experience, his lost imaginings recount themselves and recollect his presence. He can lose himself in his pen no longer. He realizes his reality and in a daze, utters his tragedy of physical state.
2. This cry of adoration is everything the Romantic Spirit embodies. This poem is a deeply ardent; passionate; fervent moan of an unquenchable thirst for a life full of love and true beauty. The Romantic Spirit lived within Keats. He saw the world in a golden haze and knows own self as a portal to death. Yet he wishes to purge himself of such horrific suffering - so, he goes on a truly Romantic adventure into the wild forest to view and soak in the amorous sights of the natural, mythical, faery realm of his imaginings, wishes and wakeful dreaminess.
3.
1.
-Keats seeks the companionship of the forest, and all its citizens.
"And with thee fade away into the forest dim."
-This poem is honoring the vitality of the bird and unearths his frailty and weakness.
"The voice I hear this passing night was heard
In ancient days by emperor and clown."
-The sweet, melodious wing'ed thing freely flying and singing because it must out of pure elation and divine nature.
"But being too happy in thine happiness,
That thou, light-wingèd Dryad of the trees,
In some melodious plot."
-He seeks the indulgence of some satiating drink to hush his weary, tragic mind.
"O for a draught of vintage! that hath been
Cool'd a long age in the deep-delvèd earth"
"O for a beaker full of the warm South!"
-He so badly wants to forget himself in this proud Ecstasy of song, but cannot.
"Fade far away, dissolve, and quite forget
What thou among the leaves hast never known,
The weariness, the fever, and the fret"
-He realizes his reality and in a daze, utters his tragedy of physical state.
"Forlorn! the very word is like a bell
To toll me back from thee to my sole self!"
2.
- he goes on a truly Romantic adventure into the wild forest to view and soak in the amorous sights of the natural, mythical, faery realm of his imaginings, wishes and wakeful dreaminess.
"Dryad of the trees,"
"Away! away! for I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,"
"Tasting of Flora and the country-green"
"Charm'd magic casements, opening on the foam
Of perilous seas, in faery lands forlorn."
Throughout this epic poem, Keats repeatedly uses imagery. Every sentence contains a beautiful image.
This whole poem is told through 1st Person Point-of-view.
P.S.
You first introduced me John Keats and this poem in grade 10. This is the poem that inspired me to write poetry. Thank you. By and by, you are an exceptional English teacher.
P.S.S.
(I mean it.)
Tardy Methods of Development. (I hope three examples is enough)
Cause and Effect:
My uncle weighs seven hundred pounds, consequently, he fell through the floorboards. It was a hot summer day, and the maple wood supporting the second story of our Victorian home seemed to be as fatigued as my Mother and I. He was just sitting - as per usual - and CRACK! The floorboards refused to sustain his mass. He fell onto the kitchen floor, still sitting in the Laz-E-Boy he seemed to live within. He blinked twice...and waddled outside.
Comparison and Contrast:
His eyes were wide. Wide; full of imaginings and unlived dreams. The possessed a deadly calm..a serenity much like the still waters of the brook they stood beside. His eyes were the lightest of blues, almost transparent, not white, clear - as if one could peer endlessly into the depths of their hollows like the cold, still stream. She gazed into his orbs, peered deeply, sighed...and noticed: his eyes were too still..almost..calmly vacant. The brook took her view and she noted in all its steadiness it had a fierce movement neath the misleading surface, endlessly flowing in infinite directions with undefinable potential. And she looked into his eyes..his blue, blue eyes..and saw only stillness, unlike the manic brook.
Analogy:
Margarita waited on the train, full of lonely strangers. She avoided eye contact with all as was her cultures frosty custom. She waited, and waited. Sitting stiffly. An elderly gentleman sat across from her. His eyes were lowered to his polished heels. She decided to spend the long ride doodling this and that. She reached into her bag and her grip rested upon not her journal, but an old nectarine she had forgotten to remove. She wrinkled her nose yet, removed the fruit from her bag for bored inspection. It was wrinkled, withered and past its prime. It had seen fruition and now was decomposing. The elderly gentleman was looking at her with amused curiosity. She smiled nervously at him and shoved the fruit back into her bag. With a nod at the elderly gentleman he refocused his eyes upon his unmoving feet. Her mouth twitched as she peered at the elderly gentleman's gnarled hands and realized humans too succumb to the life cycle of a fruit. We seeds are planted, we grow with careful attention and care. Those who do not get watered wither, those who are treated with love flourish and bud. We ripen as children, too young to yet enjoy the full flavour of self and carry out growth. Slowly we reach our peak of juicy mid life when we are in full health and fruition. Then, if we are not consumed or lost in a heavy gale of trouble we too start to decompose. Our bodies start to rot with age. Shrivel with time, shrink and grow soft. Margarita exchanged a hearty smile with the elderly gentleman. She was filled with a steady elation. She welcomed age, for the fruit when fully decomposed releases itself into the earth and allows other fruit to flourish.
My uncle weighs seven hundred pounds, consequently, he fell through the floorboards. It was a hot summer day, and the maple wood supporting the second story of our Victorian home seemed to be as fatigued as my Mother and I. He was just sitting - as per usual - and CRACK! The floorboards refused to sustain his mass. He fell onto the kitchen floor, still sitting in the Laz-E-Boy he seemed to live within. He blinked twice...and waddled outside.
Comparison and Contrast:
His eyes were wide. Wide; full of imaginings and unlived dreams. The possessed a deadly calm..a serenity much like the still waters of the brook they stood beside. His eyes were the lightest of blues, almost transparent, not white, clear - as if one could peer endlessly into the depths of their hollows like the cold, still stream. She gazed into his orbs, peered deeply, sighed...and noticed: his eyes were too still..almost..calmly vacant. The brook took her view and she noted in all its steadiness it had a fierce movement neath the misleading surface, endlessly flowing in infinite directions with undefinable potential. And she looked into his eyes..his blue, blue eyes..and saw only stillness, unlike the manic brook.
Analogy:
Margarita waited on the train, full of lonely strangers. She avoided eye contact with all as was her cultures frosty custom. She waited, and waited. Sitting stiffly. An elderly gentleman sat across from her. His eyes were lowered to his polished heels. She decided to spend the long ride doodling this and that. She reached into her bag and her grip rested upon not her journal, but an old nectarine she had forgotten to remove. She wrinkled her nose yet, removed the fruit from her bag for bored inspection. It was wrinkled, withered and past its prime. It had seen fruition and now was decomposing. The elderly gentleman was looking at her with amused curiosity. She smiled nervously at him and shoved the fruit back into her bag. With a nod at the elderly gentleman he refocused his eyes upon his unmoving feet. Her mouth twitched as she peered at the elderly gentleman's gnarled hands and realized humans too succumb to the life cycle of a fruit. We seeds are planted, we grow with careful attention and care. Those who do not get watered wither, those who are treated with love flourish and bud. We ripen as children, too young to yet enjoy the full flavour of self and carry out growth. Slowly we reach our peak of juicy mid life when we are in full health and fruition. Then, if we are not consumed or lost in a heavy gale of trouble we too start to decompose. Our bodies start to rot with age. Shrivel with time, shrink and grow soft. Margarita exchanged a hearty smile with the elderly gentleman. She was filled with a steady elation. She welcomed age, for the fruit when fully decomposed releases itself into the earth and allows other fruit to flourish.
Thursday, February 12, 2009
Metacognitive Reflection #1
The Socratic Circle of Analysis
Part II: Self Awareness
I am a passionate idealist with very formulated opinions. I am extroverted in social situations and unafraid to voice my opinions. I have always been a leader in group activities, it is the role I am most comfortable in. I try to be just in allowing all other participants to contribute their opinions - but sometimes I roar too loudly and lose others voices in the noise of my own. I am a strong speaker, but I am not very competent in analysis. So, as a defense mechanism, I talk too much and pull logic out of my bottom when I am lost in conversation I do not comprehend. My weakness in a Socratic circle is my strength; my outspokenness.
I must learn to be a better listener. The next Socratic Circle that I cooperate in, I will not speak if I do not know what to say. I will listen as opposed to speak. I will address those who may be too shy to contribute, or don't know how to. I will question what I do not understand to learn. I also must be competent of the topic of discussion. I went into this Socratic Circle without ever having read the text five minutes before the debate - I must educate myself of the topic before I endevour to critique it.
As a participant, I am a "driver." I am incredibly vocal and passionate about my opinions and beliefs, I am also stubborn.
A Fire Truck: The Analysis
In my opinion:
1.) The purpose of this poem is to understand the extraordinary simplicity of a common situation. How often does one see a firetruck zoom "down the shocked street?" I doubt many view such an experiance as fascinating or romantic. This poem allows the reader to dream about a situation that has occurred in their lives hundreds of times. It interperates ordinary reality as something beautiful and epic.
2.) A Fire Truck is excellent poetry. The language used creates a tone of haste, fruseration and stress. The content creates a wonderful image of a man taking time to comprehend his surroundings, and to be affected by them. The poem is ambitious and direct. The style is unique in a very positive way. The vividness of the situation evokes a definite connection within ourselves, for we have all experianced the passing of a fire truck. The refreshign perspective of such wonder Richard Wilbur evokes within the reader is most charming and very effective.
1.) The purpose of this poem is to understand the extraordinary simplicity of a common situation. How often does one see a firetruck zoom "down the shocked street?" I doubt many view such an experiance as fascinating or romantic. This poem allows the reader to dream about a situation that has occurred in their lives hundreds of times. It interperates ordinary reality as something beautiful and epic.
2.) A Fire Truck is excellent poetry. The language used creates a tone of haste, fruseration and stress. The content creates a wonderful image of a man taking time to comprehend his surroundings, and to be affected by them. The poem is ambitious and direct. The style is unique in a very positive way. The vividness of the situation evokes a definite connection within ourselves, for we have all experianced the passing of a fire truck. The refreshign perspective of such wonder Richard Wilbur evokes within the reader is most charming and very effective.
Wednesday, February 11, 2009
April Fools On Polar Circus
1.a.) The thesis of April Fools On Polar Circus is "the dance with fear makes me wise."
b.)"I learn the language; I articulate the right series of moves, body positions, ice axe and crampon placements to dance with a frozen tongue of ice." Already, in the first instances of climbing Janet Roddan is acquiring knowledge/wisdom. She must contort and balance, adjust and maneuver to achieve a successful vertical hike. The geometric obstacles that are the contours and ridges of ice become her teachers.
Emotional wisdom can only be gained through experience. "One of the strong pulls of ice climbing is the tremendous range of feelings one is forced to endure." Unless one climbs a giant block of ice, they cannot know how it feels. During the hours of risk it took to achieve such glory the thoughts, sensations and emotions must have been enlightening.
2.) Roddan uses deductive reasoning to prove her thesis. She states her thesis at the beginning of the essay, and throughout establishes her reasoning with her first hand account of adventure.
3.) She effectively uses narration to support her thesis. She accounts her story in an exciting way using beautiful imagery, and vivid mental conceptions. "The dance becomes a struggle" is a sensational way to say "I was in peril." If not for her very personal account of this undertaking, knowing and feeling her experiences, there would be no evidence that any wisdom was gained.
Throughout this essay Roddan uses casual analysis to its full advantage. She examines and relays the reasons that produced the result of gained wisdom. She tells us of her emotions and what she is sensing. She stares into fears eyes and continues, becoming a stronger person with a deeper understanding within and of herself. "Filled with solemn focus, I proceed."
4.) "Two tiny fireflies humming and buzzing softly." I can only assume that there is no human emotion that can describe the sensation of conquering such a great height, so simile is used. When Roddan uses the images of two contented fireflies she creates incredible tone and we sense their joy.
"We are filled with our fear and our audacity." Parallel structure has been used very well in this example. Roddan is experiencing conflicting emotions and to express so, must list one after the other. It is contradictory at first glance, but with the style of the piece most beneficial.
It would be horribly boring to keep referring to the mountain as such. To breath life and personality into the hulk of ice Roddan uses personification as a common theme. "I witness her dark, foreboding pinnacles, her places of silent, quiet peace, her vistas too vast to contain in a single glance." She refers the the mountain as a woman. This allows the audience to perceive the mountain as a feminine energy and gives us imagery we can relate to since, presumably, we have not climbed an ice mountain ourselves. It is difficult to comprehend the unknown and is pleasing to the ear and imagination to visualize this goddesses silent, quiet places.
"The entire world shrinks to a section of frozen water in front of my face." A very great metaphor. The symbolism is very clear in this sentence. She is terrified and more aware of her surroundings then she ever has been. No other thoughts enter her mind but the struggle in front of her.
5.) A wedding is a commitment of two entities and the unification of two souls. Her voyage to the top of Polar Circus is a journey that allows her to connect deeply with her own soul and allows her to tap into the energies of the mountain. The two are entwined and therefore one. The climb up is the sweet yet unsure swooning of two young lovers - unacquainted with one another, yet learning intimate details as their time together increases. Her standing atop the peak is the exchange of vows - the proud happiness of achievement. And, much like marriage the climb down the magic becomes tedious. As soon as she is in her car, she is divorced from the mountain, though she will always have the memories of their time together.
Dancing is a synchronized movement of two. One must lead, the other must follow. The mountain is the leader, she is the partner. The mountain is strong and if she knows the rhythm it supports her through their dance. Like dancing, if her footing is awkward, she will fail. In climbing the same physics of dancing apply but on a momentous and dangerous scale.
6.) Many would consider Roddan and her friend fools for even considering such a professedly unnecessary feat aside from physically actualizing the endevour. Her circus is entertaining and the admission is time, energy and devotion. They are in actuality, two fools on April first who undertake the circus like confusion, absurdity and intrigue that is the icy Polar Circus.
b.)"I learn the language; I articulate the right series of moves, body positions, ice axe and crampon placements to dance with a frozen tongue of ice." Already, in the first instances of climbing Janet Roddan is acquiring knowledge/wisdom. She must contort and balance, adjust and maneuver to achieve a successful vertical hike. The geometric obstacles that are the contours and ridges of ice become her teachers.
Emotional wisdom can only be gained through experience. "One of the strong pulls of ice climbing is the tremendous range of feelings one is forced to endure." Unless one climbs a giant block of ice, they cannot know how it feels. During the hours of risk it took to achieve such glory the thoughts, sensations and emotions must have been enlightening.
2.) Roddan uses deductive reasoning to prove her thesis. She states her thesis at the beginning of the essay, and throughout establishes her reasoning with her first hand account of adventure.
3.) She effectively uses narration to support her thesis. She accounts her story in an exciting way using beautiful imagery, and vivid mental conceptions. "The dance becomes a struggle" is a sensational way to say "I was in peril." If not for her very personal account of this undertaking, knowing and feeling her experiences, there would be no evidence that any wisdom was gained.
Throughout this essay Roddan uses casual analysis to its full advantage. She examines and relays the reasons that produced the result of gained wisdom. She tells us of her emotions and what she is sensing. She stares into fears eyes and continues, becoming a stronger person with a deeper understanding within and of herself. "Filled with solemn focus, I proceed."
4.) "Two tiny fireflies humming and buzzing softly." I can only assume that there is no human emotion that can describe the sensation of conquering such a great height, so simile is used. When Roddan uses the images of two contented fireflies she creates incredible tone and we sense their joy.
"We are filled with our fear and our audacity." Parallel structure has been used very well in this example. Roddan is experiencing conflicting emotions and to express so, must list one after the other. It is contradictory at first glance, but with the style of the piece most beneficial.
It would be horribly boring to keep referring to the mountain as such. To breath life and personality into the hulk of ice Roddan uses personification as a common theme. "I witness her dark, foreboding pinnacles, her places of silent, quiet peace, her vistas too vast to contain in a single glance." She refers the the mountain as a woman. This allows the audience to perceive the mountain as a feminine energy and gives us imagery we can relate to since, presumably, we have not climbed an ice mountain ourselves. It is difficult to comprehend the unknown and is pleasing to the ear and imagination to visualize this goddesses silent, quiet places.
"The entire world shrinks to a section of frozen water in front of my face." A very great metaphor. The symbolism is very clear in this sentence. She is terrified and more aware of her surroundings then she ever has been. No other thoughts enter her mind but the struggle in front of her.
5.) A wedding is a commitment of two entities and the unification of two souls. Her voyage to the top of Polar Circus is a journey that allows her to connect deeply with her own soul and allows her to tap into the energies of the mountain. The two are entwined and therefore one. The climb up is the sweet yet unsure swooning of two young lovers - unacquainted with one another, yet learning intimate details as their time together increases. Her standing atop the peak is the exchange of vows - the proud happiness of achievement. And, much like marriage the climb down the magic becomes tedious. As soon as she is in her car, she is divorced from the mountain, though she will always have the memories of their time together.
Dancing is a synchronized movement of two. One must lead, the other must follow. The mountain is the leader, she is the partner. The mountain is strong and if she knows the rhythm it supports her through their dance. Like dancing, if her footing is awkward, she will fail. In climbing the same physics of dancing apply but on a momentous and dangerous scale.
6.) Many would consider Roddan and her friend fools for even considering such a professedly unnecessary feat aside from physically actualizing the endevour. Her circus is entertaining and the admission is time, energy and devotion. They are in actuality, two fools on April first who undertake the circus like confusion, absurdity and intrigue that is the icy Polar Circus.
Good and Bad Writing.
BAD WRITING
Exhibit A: Paragraph Number One
This piece is presumably written by an non existing entity. The author begins: "Within our society, it has been shown that there is an individual." Based upon this statement alone, the author would have us believe that there is only one individual within 'this' society. Which society? This society. The author does not specify which society the paragraph is relative to and we are left to guess armed only with strange, incoherent sentences of rambling thoughts that follow. The second sentence is even less coherent. The author refers to the individual as "He" and then five words later refers to the same individual as "their." The third sentence contradicts the opening statement. The author suggests that the individual is either brainwashed by the media, or molded by their friends. If "their" friends are in fact trying to "direct us in the right direction" are the friends then unaffected by this apparent brainwashing? The author is now referring to the individual as "us." The author is undecided as to who the individual is - he has now pulled the reader into this confusion. The fifth sentence enlightens us to the fact that, "no one may ever know what is right or wrong." This statement has come out of nowhere. It is seemingly an anachronism to short cut through any explanation as to how they came to this conclusion. Then, they go on to surprise us with the introduction of ethical relativism which remains unexplained and the definition and origins of ethical relativism are actually questioned by the author. Apparently the author is not asking a rhetorical question - they too seem to be looking for the answers. The next sentence is completely unnecessary for it is so horrifyingly obvious a statement. I am amused by the following sentence which vaguely defines ethical relativism indirectly with improper usage of grammar and confusing language. The author thinks that they have avoided using a truism in the ninth sentence by stating "one may conclude" when addressing the diverse nature of humanity but they have not. It is just made to be a more confusing truism. There are no facts to support their claim besides experience and due to the previous content of this essay, one may question if there is even more than one society. I do not understand the conclusion of this paragraph in the least. I do not know how the author convicts both ethical relativists and philosophers of wasting their time. Nor do I comprehend what the author is stating! They do not explain their deductions; they assume we understand and have all along. I must say, I am impressed with this authors ability to talk in circles and jump from topic to topic. It is a most bewildering paragraph which contains no fact, no support and no sense. It has too many directions and no purpose.
Exhibit B: Paragraph Number Two
A paragraph has no right to be one sentence in length. The author is clearly unaware of the lung capacity of a human. The author is trying to be overly clever with the usage of 'big words.' It is an ironic intention, for the author becomes silly and pretentious in doing so. Quantity over quality is this authors motto.
Exhibit C: Paragraph Number Three
This paragraph supplies no solid fact or references so how is it they come up with such a sure conclusion? This paragraph is a wonderful explanation of a truism. If there is no support of an opinion it can only ever be speculation and opinion. If one tries to force an opinion with aggressive 'logic' then this thought becomes a lie.
Good Writing
Exhibit A: Paragraph Number Four
This paragraph is reliable, coherent, direct and accurate. It has support and is well delivered. It captures the reader with fascinating imagery and does not use more words than it must.
Exhibit B: Paragraph Number Five
The author possesses the readers interest with a beautiful quote from a Leigh Hunt the poet. "colours are the smiles of nature." Artfully, they proceed to refer to colours as smiles. They then go on to explain the science of this statement with appropriate referencing. This paragraph has definite direction and a nice style that evokes a lovely thought in the audience.
Exhibit C: Paragraph Number Six
This paragraph is especially 'good.' It asks seemingly obvious questions to aid their thesis. It clearly defines what a machine is, and it is a broad enough definition to prove their point. It proceeds to raise an interesting possibility that cannot be disproved about future machinery. This paragraph then sets up the following paragraph nicely with a question that concludes the previous thought. It is a valid paragraph as it has scientific backing. It asks the reader to think and to question yet rigs the questions to lead the reader to a clear agreement.
Slurred thoughts, wordy phrases, lack of evidence, lack of interest, and most importantly no direction make bad writing.
Clear concise reasoning, valid evidence, references, rhetorical devices, definite direction, make up good writing.
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