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Invite eSignature Word Fast. Investigate one of the most customer-pleasant knowledge about airSlate SignNow. Deal with your complete file finalizing and discussing process electronically. Change from portable, pieces of paper-dependent and erroneous workflows to computerized, electronic digital and perfect. You can easily generate, provide and indicator any documents on any product just about anywhere. Make sure that your important organization situations don't fall overboard.
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How can I increase my business online with the best services?
You could try the following steps:1. Use the same hashtagIf you do a big holiday sale, don't be afraid of hashtags! Hundreds of other businesses will do the same, and you want to stand out from them by appearing first in searching for any tags by your potential customers. Try using various hashtags that include general options like #holidaysale, along with special hashtags that describe the focus of your business. After you find a happy media, obey it! Use a combination of hashtags on all of your social media platforms.2. Fast SalesFast selling is a great way to encourage sales because they create a sense of urgency. Offering special prices only for a short period of time. Announce your intention to do light sales in the previous few weeks throughout your social media sites, but don't say when that will happen. This will ensure that people will continue to check your feed to see when that happens. When you hold flash sales, be prepared for heavy traffic to your site.3. Offer CouponsThe use of coupons jumped during the recession because people were looking for cheaper prices and offers, especially during holidays. Invite customers to buy your product with a coupon code only available to those who "like" your page on Facebook or follow you on Twitter. This will increase the number of your followers and attract more customers.4. Embed the Contest on PinterestMany small businesses are still trying to find ways to use Pinterest to their advantage. Whether you have a page for months or years, one great strategy is to run a contest on Pinterest that rewards everyone who enters a coupon code for ten percent of an item. Winners must receive bigger prizes such as free items. Ask followers to pin one of the items they want most from your catalog page to one of their boards, and select a winner randomly. This is a big win: You not only involve your followers, but you also spread the word about your product to other people who see the contestants' boards participating.You can also use your page to run promotions.5. Promote Free ShippingDuring the holiday season, people buy most of their purchases online. Shipping costs when buying online can increase, especially if customers buy from several companies. Offer free shipping to those who click on the link from your Facebook or Twitter account. You will be intrigued by how many "likes" and new followers you can get from this promotion, not to mention increasing sales.6. Generate instructions through prizesHolidays are the right time to generate new prospects for your business. Try a free promotion that requires a registration page. Include an option for users to receive bulletins as an additional incentive. Not only will they have the opportunity to win big prizes or a percentage of services, they will also register themselves to get the opportunity to hear more about your business. Way Easy Gifts follow this trend with their "12 Day Gift" promotion. Users can choose between three different prizes with the same theme and enter to win prizes. Not only promotions that generate direction and recognition for brands, it also enhances their social platforms. Everyone who enters a promotion must like a Facebook page to check prizes.7. Go MobileDo you already have a mobile site? If not, get one as soon as possible. A large number of people now access their social media accounts via their telephone; in fact, more people use Facebook phones than Facebook on their desktops. Any sales promotions that you put on social media are likely to be accessed on the phone, and you don't want to bother your customers with slow friendly sites that are not mobile where buying things is troublesome. If you don't have a lot of technical expertise, try a cellular trading provider that can do it for you, like Shopgate.8. Posting ImagesStrange but real: You tend to get a response to something on Facebook when you post a picture along with your words. Encourage your fans to like and share your things! Facebook has just implemented a new algorithm that will repost the link every time someone comments on it. This means more exposure for your brand! Whatever additional "likes" you get for status leads to more people seeing them in the feed of their friends, so be sure to include photos of your product with each promotion you post.9. Increase Exposure to Your Social Media SiteYou might have a button that connects to your social media account at the top of your website, which is a great way to make words. But do you have a link on your e-mail signature? In your blog post? In your bulletin? Whatever way you get more followers means more people hear about your social media sales.
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What are some great online tools for startups? Why?
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How do I start earning on Facebook?
In order for publishers and creators to make money from their Facebook content,they must comply with a set of rules called Monetization Eligibility Standards.Facebook btk3What’s Monetization Policy of Facebook?1./You must pass and remain compliant with Facebook’s Monetization Eligibility Standards.2./You have to publish from a Page (not a profile) with at least 10,000 followers.3./You must generate at least 30,000 1-minute views on videos that are at least 3 minutes long in the last 60 days.4./You must be at least 18 years old.How to get 10,000 Followers and 30,000 views fast and safe?There’re many way to bot fake products to get enough required but it isn’t good for your page, Facebook will review and suspend your page. So where can you get high quality followers and views?I have a company that i’m using to gain high quality views and followers but before i share you that company, i’ll tell us some ideas i’m also using to get the best results. It’s free.Invite Friends To Like Your PageOnce you create a Facebook page, start creating Ads. The next thing is to ask your friends, family members, and colleagues to like your page. However, you need to pace down in sending invitation requests.Why? If you invite too many people within a short time, Facebook will block you, and you’ll not be in a position to send any more requests.Therefore, once you invite people; pause for a couple of days then invite a few more. This way, you’ll be in a position to invite many people, and your Facebook followers will increase.2. Share Live Stream VideosDid you know that live stream videos get interactions more than the usual videos? Actually, a report by Facebook states that interactions increases by up to six times.Are you serious about growing your Facebook followers? Then, share live stream videos.See, people want to see what is happening at a particular time, right? They’ll definitely want to watch the live video and give their views in the comments section.Was it an interesting live stream video? Expect more likes as well as followers.On the other hand, Facebook will help you by prioritizing your posts if only what you are posting generates meaningful interactions.That way, you can signNow the intended persons and earn more targeted followers.3. Hashtag It UpJust like other social media platforms, Hashtag increases your followers by making your posts visible to people interested in the same content you are posting.If for example, you want to signNow people interested in health, you just need to add a hashtag before the word “health.” How? #Gain…v….This makes it possible for anyone looking for content on health to see your page.If what is in your page is what they are looking for, they’ll automatically like your page and follow it for more information.4. Pay to Get 10 .000 followers Fanpage & 30 .000 Views To Monetized on FacebookWell , if you want to build your page and making money with it , let’s get started.Because according to the newest policy of Facebook Adbreak , your fanpage need to have 10 .000 followers pages & 30 .000 views to enable monetization with Facebook video .You can get it in normal way but it’s not optimize way to enable and many people ignored this step and change in the best way . It’s safe and fast for to monetized soon with Facebook .Just buy 10,000 followers page & 30,000 views from a reliable service provider and you will be fine .When people will notice a number like few thousand Likes attached to your page , they will immediately think that it’s a high-authority page in that particular niche .So they will check out your page , and if your contents are Awesome , then they will definitely end up Liking it and sharing your contents , it’ll help you to earn much money from your good contents .So yes , you can purchase some Facebook Likes or Followers to capture people and also to raise your Facebook ranking .But remember , you should never , ever , ever buy Fake Followers . Because fake Followers are usually generated with the help of certain Bots . And using bots-generated Fake Followers is a violation of Facebook TOS .So when you pay for followers , make sure you are buying true followers that are driven through Organic Promotion .I know the genuine company that i’m using to get more likes and viewers for my page and individual Facebook , they can generate good product to provide for everyone .Their supporters and policy of guarantee is so good . I think THIS ONE a good company you should refer .http://monetizefb.audiencegain25...5. Post videos and images consistently .You don’t want to flood your friends’ news feeds with posts or videos , but you should try to post at least once a day .If you’re taking the time to curate concise , funny , and/or meaningful posts , this is actually harder than it sounds !However , consistently posting will lead to consistent likes .Designating a theme for your posts can also help keep your posts consistent .If you do this , make sure that you monitor the general reaction to the topic posts , and be prepared to change the theme if you’re not getting the likes that you want.6. Communicate with your visitors .Although Facebook’s exact algorithm for who sees your content isn’t clear , there appears to be a correlation between people with whom you regularly interact and people who frequently see your posts in their News Feeds .You can increase the chances of friends seeing your content by liking and to respond to their comments on your content ( or on theirs ) .Liking and commenting on other friends’ posts will also help your friends see your pictures.like what you are thinking .How to get 10 ,000 followers and 30 ,000 views easilly ?I was earning profits with Facebook Ad Breaks 3 month till now and i have some tips to get it for monetization , if you use these methods , you can get it easy .I got 2 pages and Facebook approved monetization for them with these ways .Share Images , Videos and Emotions , Not Just LinkIf you take a look at some of the most popular Facebook pages , you will notice that they tend to share images , videos , infographics , charts etc , along with their usual text only postings .This type of content gets more likes and shares and as a result the page gets more fans and followers .Provide incentives to get more fans & followersWhy should someone follow your Facebook business page ?You need to give incentives to facebook users to follow your page . A few ideas to consider :1 .Quality updatesThis is the best incentive you can give your users . Before posting anything on your page , you need to make sure that it provides value to your audience .When you do this consistently , you existing followers will share it with their friends and this will attract more users .2 .Content upgradesIf you have a blog , you can use ask users to LIKE your page to get an updated version of your post .This requires extra tools but it is something worth testing out .Advertise In Other Social Media Networks & In Your NewsletterIf you have accounts with other social media channels e .g . Pinterest etc . you can periodically ask your followers to join you on Facebook as well .Be polite and explain to them the benefits from doing so .If you have a newsletter or if you communicate with your readers via email , make sure that you ask them to follow your Facebook page .Do not just write the FB URL below your signature but ASK them politely to LIKE your business page .Make Good Content & Post Videos Regularly .Videos is the key to get money with Facebook , create interesting video will attract more new visitors and they can be people who watch your video and you can earn money with it .You’ll get enough 10 ,000 Followers and 30 ,000 views required of Facebook and FB will review your page then if it’s good , they’ll enable monetization on Facebook . When your page has followers stable , it can be large revenue from viewers .You don’t want to flood your friends’ news feeds with posts or videos , but you should try to post at least once a day .If you’re taking the time to curate short , amusing posts , this is actually harder than it sounds !However , consistently posting will lead to consistent followers .Designating a theme for your posts can also help keep your posts consistent .If you do this , make sure that you monitor the general reaction to the topic posts , and be prepared to change the theme if you’re not getting the followers that you want .Invest in Facebook Monetize PageInvest in Facebook Monetize Page is the best choice that i’m using to earn money with Facebook Ad Breaks . If you get Monetized Page , you just concentrate make good videos to attract people , don’t need to do many steps at a beginner .When you use this page , just upload video Facebook will set up the ADS on your video the same with Youtube set ADS on videos .Publishing video on monetized page if right that time it really attract many people , Facebook will count the views and add for revenue . I think you should you purchase Facebook Monetized Page .If it isn’t your choice , you can refer 10 ,000 Facebook Followers & +30 ,000 views to monetize Facebook , it’s also good choice .monetizefb.audiencegain25.netInteracting With Your AudiencesThis is the best way to keep your views , if you live stream , you can speak their names and say “Hello”,it’s the best tips to attract views watch longer , maybe you can call some action at the end of your video like ( Click Followers ) or something like that .An other way , you can improve the chances of friends seeing your content by liking and to respond to their comments on your content ( or on theirs ) .Liking and commenting on other friends’ posts will also help your friends see your pictures .
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What is the best short story available online?
Taken from 2 previous posts on Reader's paradise:Can you take a day off to read?Do you have one more day?Below is the list of 72 wonderful short stories that can be found online for free. (Click on the title to go to the story page.)So can you take a couple of days off from your busy schedule?Science fiction#1: All you zombies - Robert A. Heinlein (4.5 stars)Probably the most convoluted and complex of all time travel stories, All you zombies is a masterpiece that has been lauded for its originality and the sheer mind boggling complexity of its plot.#2: The last question - Isaac Asimov (5 stars)The best work of the best sci-fi writer that ever lived.The last question was asked for the first time, half in jest, on May 21, 2061, at a time when humanity first stepped into the light. The question came about as a result of a five dollar bet over highballsAsimov takes one simple, fundamental question and weaves a story around it - as story spanning billions of years, the vastness of the universe and the hyperspace. The narrative is captivating, enchanting and fast paced. There is a continued sense of awe throughout as the story nears completion. And then, in a single closing statement, Asimov pulls offs a stunner.*Since "The last question" is rated 5 stars, no other story will be.#3: A sound of thunder - Ray Bradbury (3.5 stars)2055. Time machines. Safaris to the past - humans going back millions of years to hunt exotic animals including dinosaurs. Every moment is carefully planned to avoid making even the slightest change to the future. Or is it?Butterfly effect!#4: They are made out of meat - Terry Bisson (3.5 stars)We are not alone. But we might never know that. And there's a reason why.#5: 2BR02B - Kurt Vonnegut (4 stars)The story of a utopia. Of mankind's most lusted after ambitions come true. And mankind's most dreaded horrors too. A painter, a father, a doctor, triplets, a woman with a strange job, drupelets and the Happy Hooligan.Vonnegut's dark "paradise" leaves much to be desired and pondered and answered.#6: The Nothing Equation - Tom Godwin (4 stars)The space ships were miracles of power and precision; the men who manned them, rich in endurance and courage. Every detail had been checked and double checked; every detail except—THE NOTHING EQUATION.An observation bubble at the edge of our galaxy. One man to oversee it surrounded by vast legions of nothingness. The first commits suicide, the second goes insane. Now there is a third.#7: I have no mouth, and I must scream - Harlan Ellison (4.5 stars)What begins off as another post-apocalyptic world story, where a sentient, all-powerful machine has annihilated humanity, gradually builds up to be a terrifying, what-if tale. 5 survivors of the end of humanity must endure against an immensely powerful and vengeful machine. And there's no way out. There is just the 5 of them and an eternity of pain and torture.#8: As long as you wish - John O'Keefe (3 stars)A coin with a paradoxical statement on both sides: THE STATEMENT ON THE OTHER SIDE OF THIS COIN IS FALSE.A Professor of Philosophy.A strange discovery.A hidden message.#9: No moving parts - Murray F. Yaco (3.5 stars)The story of a time far ahead in the future where everything works perfectly. Human intervention is no longer needed to maintain or fix things. But everything's changing now.That light will be flashing with more and more frequency in the months to come. But not just to signal trouble in space. If I were a superstitious man, I’d think that the age of the perfect machine is about to be superseded by the age of the perfect failure—mechanical failures that can’t be explained on any level.I really believe, childishly, that the mechanics and motions of the galaxy may turn themselves upside down just to snap man out of his apathy and give him some work to do.”#10: The Veldt - Ray Bradbury (3.5 stars)A wonderful story of a utopia. Of a happy family. Of a time when the human civilization has advanced so much that everything you want is done by machines at the slightest thought. A story that explores the question of "How far can you go mechanizing things before you are redundant?"#11: The nine billion names of God - Arthur C. Clarke (3 stars)Lamas at a monastery have taken up an ambitious project - to list down all the 9 billion names of God. And they believe that this is what humanity was made to do. And once the 9 billionth name is listed, our purpose would be fulfilled.But what happens after that? If we have no more use for God, what happens to us? Will everything end? Or is it just the religious fantasy of a bunch of devout fanatics?#12: There will come soft rains - Ray Bradbury (3 stars)A mechanized house. A pre-planned schedule. Machines running around frantically, executing every job. But where are the masters? Bradbury's story is more than what it seems - a bleak commentary on the horrors of nuclear wars and their aftermath.#13: The star - Arthur C Clarke (3.5 stars)AD MAIOREM DEI GLORIAM - For the greater glory of GodA scientific voyage to the remnants of a supernova discover one lonely planet encircling the white dwarf. They stumble upon the carefully and intentionally preserved remains of a civilization - advanced, intelligent and in full bloom of its youth - wiped away by the same sun that gave them life.The team makes some calculations to estimate the date of the supernova explosion (it would have been visible on earth) and come across a startling revelation.#14: Harrison Bergeron - Kurt Vonnegut (3.5 stars)THE YEAR WAS 2081, and everybody was finally equal. They weren't only equal before God and the law. They were equal every which way. Nobody was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger or quicker than anybody else.A few years into the future, everyone is equal. Now there are only two ways to achieve that - either uplift and empower everyone to the same level, or drag down everyone else to a lowest common ground. It's not surprising what the human race chose.#15: I don't know, Timmy, being God is a big responsibility - Sam Hughes (3 stars)Tim and Diane (and their team) have successfully built the first quantum computer - a device with infinite processing power and storage capacity. Diane programs a simulation of the Big Bang and creates a model of our universe to study. As she approaches the current day, she makes a startling discovery.#16: The coming of the Ice - Green Peyton (4 stars)Is love something entirely of the flesh, something created by an ironic God merely to propagate His race? Or can there be love without emotion, love without passion—love between two cold intellects?A doctor in the 20th century, has finally solved the age-old problem of immortality. Our hero volunteers to be the first to undergo the procedure. However, immortality comes at a price - emotions. Every emotion, starting from love to hate, fear to rage, joy to sorrow, slowly deserts you, until you are nothing more than an empty shell, a walking automaton, devoid of the joy and beauty in everything.Is the price worth paying?#17: The cold equations - Tom Goodwin (3 stars)What will you do when the only option is to kill someone? (No, this is not a case study on morality) But truly, the only option is to kill. There is no margin for error, no probability, however infinitesimal, that there could be an alternate recourse.Fantasy#1: A very old man with enormous wings - Gabriel Garcia Marquez (3 stars)A normal family with a normal backyard. An unexpected visitor. Is it a bird? Is it a moth? Is it a fairy?#2: Snow, Glass, Apples - Neil Gaiman (3.5 stars)In a retelling of one of the most loved fairy tales of all times, Neil Gaiman provides a starkly different viewpoint on the events that transpire and the conditions that lead to them.#3: Nicholas was - Neil Gaiman (3 stars)A short story, short enough to be reproduced here in its entirety.Nicholas Was...older than sin, and his beard could grow no whiter. He wanted to die.The dwarfish natives of the Arctic caverns did not speak his language, but conversed in their own, twittering tongue, conducted incomprehensible rituals, when they were not actually working in the factories.Once every year they forced him, sobbing and protesting, into Endless Night. During the journey he would stand near every child in the world, leave one of the dwarves' invisible gifts by its bedside. The children slept, frozen into time.He envied Prometheus and Loki, Sisyphus and Judas. His punishment was harsher.Ho.Ho.Ho.Life and Philosophy#1: Signs and symbols - Vladimir Nabokov (3.5 stars)An old couple. A sickly child in the hospital. Referential mania. 3 calls from a wrong number.#2: Lorry Raja - Madhuri Vijay (4 stars)The story of a poor, wretched family, working in the iron mines, told through the eyes of the 2nd son, Lorry Raja is sure to stir up a lot of emotions in the reader. The plot is simple, the characters simpler still. And yet, the feeling it evokes isn't some thing that can be explained easily.#3: The necklace - Guy de Maupassant (4.5 stars)“Of all the words of mice and men, the saddest are, "It might have been.” ― Kurt VonnegutA simple couple. A simple life. A wife that yearns for a more exciting life. A party invitation. A borrowed necklace. A wonderful night. A life changed forever. "The necklace" is one of the best stories of love, support, yearnings, strength and regrets. The ending leaves one with an entangle of emotions, most signNow of which is a sense of unfairness.#4: Silver Water - Amy Bloom (3 stars)Told from the first person perspective of Violet, Silver Water is a tale of her elder, mentally unstable sister Rose. The story weaves through a, though lightly comic at times, gritty and realistic narrative of having to deal with and adjusting with a family member suffering from acute Schizophrenia.#5: If you were a dinosaur, my love - Rachel Swirsky (3.5 stars)The first person narrative of a woman who wishes her fiancée was a dinosaur and then weaves a fictional world around it - a world of dinosaur operas and weddings. A tale that will leave you chuckling, pondering and going back to re-read the story.#6: The Egg - Andy Weir (4 stars)You were on your way home when you died. It was a card accident. Nothing particularly remarkable, but fatal nonetheless.So begins a tale that spans religion, belief, life, death, afterlife, and reincarnation. Taking a leaf out of Asimov's book, The Egg builds up to a wonderful climax. And delivers.#7: Three questions - Leo Tolstoy (4 stars)In this story, Tolstoy addresses 3 fundamental questions, which since then have been passed down as life lessons and parables.#8: And all the earth a grave - C.C. MacApp (3 stars)There's nothing wrong with dying—it just hasn't ever had the proper sales pitch!You can sell everything if only you know how to. Even death. A brilliant satire on the current media industry and the wave of consumerism that has engulfed the world.#9: The snows of Kilimanjaro - Ernest Hemingway (3.5 stars)A writer. A festering wound. A re-living of regrets, of opportunities passed up, of chances not taken. The slow approach of death, like the night, creeping and inevitable interspersed with a melange of memories, good and bad.#10: To build a fire - Jack London (4 stars)A man and a dog hiking through the snow covered trails of the Yukon in Canada on a day that they shouldn't be. It is "too cold to be travelling along" but the man persists. To defeat the cold, he would need to start a fire. A fire that would be the difference between life and death.#11: The curious case of Benjamin Buttons - F Scott Fitzgerald (4 stars)We have all seen the box office hit starring Brad Pitt in the titular role but there is an eerily, haunting quality to Fitzgerald's writing that makes the experience even more wonderful. The story of a man who starts off as a old man when born and slowly ages backward, turning into a middle aged man, a teenager, a kid, an infant and finally an embryo is fascinating. It is a concept that has always had people wonder and Scott does a great deal of justice to it.#12: The last leaf - O Henry (4 stars)A woman, dying of pneumonia pegs her life to the last leaves on an ivy vine. Bereft of all hope, she plans to take her final breath as the last leaf falls. But will it? Will she?A story about hope. About struggles and finding the strength inside. A story of finding something to live for. We have been told numerous times that appearances can be deceptive. Nothing reinforces the notion more than this masterpiece by O' Henry.#13: An occurrence at Owl Creek bridge - Ambrose Bierce (3.5 stars)The scene opens with a condemned man being hanged on the bridge. Like everyone else on a death sentence, his whole life flashes in front of him. His only wish is to somehow escape the hanging, fall into the river and swim away to safety and his family. That is when the rope snaps.#14: The hunger artist - Franz Kafka (3.5 stars)The story of a man with an unusual occupation - a hunger artist. Someone who fasts for days on end to amuse the world and its spectators. The story is a clever satire on the world where the talented yet trivialized people spend their entire lives in search for a fragment of glory, a single word of appreciation, a small part of the acknowledgment they truly deserve.#15: The one who walks away from Omelas - Ursula K LeGuin (3.5 stars)A city that is the perfect description of a middle-age utopia with its beautiful people, its skilled artists, its bright festivals, its everlasting intellectual orgy of joy. A terrible secret revealed. A compromise that had to be struck. A price that had to be paid.#16: The School - Donald Barthelme (3 stars)30 orange trees planet by 30 kids of a class all dead. Soon followed by the snakes. And the herbs. And the fishes. Death creeps nearer each day. But everything is not as dreaded as you think. There is still hope somewhere out there. Or is it?#17: The yellow wallpaper - Charlotte Perkins Gilman (4 stars)A husband and wife move to a mansion temporarily, something that is grand but suspiciously cheap. The wife believes she is sick and has an eerie feeling about their new home. The husband, however, doesn't. And then there's the room and it's yellow, shabby wallpaper. There is something definitely wrong with it.#18: Hills like white elephants - Ernest Hemingway (4 stars)A couple waiting for a train on a railway station have some beer and a rather intriguing conversation which leaves the reader puzzled and pondering.#19: Flowers for Algernon - Daniel Keyes (4.5 stars)“I don’t know what’s worse: to not know what you are and be happy, or to become what you’ve always wanted to be, and feel alone.”Rarely does a book stir up so many emotions in the reader. Flowers for Algernon is one such. The story is about simple and kind man, Charlie Gordon, with a below average IQ of 65, who undergoes an experimental procedure to triple his intelligence. Told in a narrative, progress report style (Charlie was required to compile a daily diary to monitor his progress), the prose develops in tandem with Charlie's intelligence - starting off as the scribbling of a kid, laced with spelling, grammar, and punctuation errors, and evolving into the publication-worthy musings over Plato's allegory of the cave.Flowers for Algernon is a commentary on human condition, on our schadenfreud-ian tendencies, on the treatment meted out to the mentally challenged, and one man's journey of finding something he never had, and then living through the horror of losing it all over again.#20: Shooting an elephant - George Orwell (3 stars)If you are the conqueror, the master, the dictator, are you really in control? Or are you just a face, just a puppet being manipulated by millions of invisible strings? The strings of the will of the people you oppress?#21: Clean well-lighted place - Ernest Hemingway (4 stars)There is something simple and yet enthralling about Hemingway's words. There's a beauty in those plain sentences. You don't need to exert any efforts. You don't need to read the story. The story reads you. It hooks itself to you and then starts to devour you, but in a pleasant way. And, in a short time, you are completely engulfed. You are now the story.#22: Bullet in the brain - Tobias Wolff (3 stars)A bullet to the brain is surely one of the quickest ways to die. Or is it? To the shot, does the last few milliseconds feel like an eternity?#23: The bet - Anton Chekhov (3.5 stars)A somber gathering of gentlemen soon turns into a passionate discussion about the morality of the death sentence. The ones who advocated it said it was more merciful than life imprisonment - cleaner and quicker. The ones against brought God into the midst of things and stated that the State does not have the right to take someone's life when it itself cannot create life.A young banker agrees with the latter and boldly claims that he would take life imprisonment over death. The host, a rich and pompous banker, bets 2 million in exchange for the young guy living in solitary confinement for 15 years.This was on Nov 14, 1870. Today is Nov 14, 1885.#24: The dream of a ridiculous man - Fyodor Dostoevsky (4 stars)Dreams, as we all know, are very queer things: some parts are presented with appalling vividness, with details worked up with the elaborate finish of jewellery, while others one gallops through, as it were, without noticing them at all, as, for instance, through space and time.Yes they are. In a dream, you can live an eternity but wake up none the older for it. In a dream, you can achieve everything you have ever wanted, every aspired for, ever lusted after, but wake up none the richer for it.Our hero had had such a dream. And he was ridiculed for it. Mocked. Derided. Pronounced senile. Yes, you can call him a madman. But aren't we all?#25: The Happy Prince - Oscar Wilde (4.5 stars)It's astounding, the power of words. How they can sway us, infuriate us, flame our desires, preserve our hopes.This short story by the master is a perfect testament of the power of words in the hands of the wordsmith. A story that was part of the school curriculum, at least in India, and one I revisited after years.In a few thousand words, it encompasses a love story, a tale of sorrow, and a satire on human condition. In a few thousand words, it stirs up emotions of love, joy, sorrow, pain and contempt. In a few thousand words, it is as much the cold winds of the winter, as it is the warmth of the sun on a spring afternoon.#26: Happiness - Guy de Maupassant (3.5 stars)Happiness is relative. And a lot more simpler than it is made out to be.#27: The Sugargun Fairy - Kuzhali Manikavel (3 stars)"Because everyone must keep a box of things they don't understand and can't throw away"A story that is as simple as the daily ramblings of a teenager, and yet brooding and sinister at the same time. One about the fleeting passage of time, and yet the inevitable existence and decay of things.#28: A little cloud - James Joyce (3.5 stars)One of the most wonderful feelings in the world is catching up with an old friend. We might not have a time machine (yet), but an evening of smoky conversations and reminiscence with old pals is good enough. There's anticipation, carefree laughter, a hint of nostalgic fondness, and just the tiniest sliver of jealousy. Especially if the other friend has a life worth being envious of.#29: Across the bridge - Graham Greene (3 stars)Life's a curious case. In the end, does money matter? Or influence? Can one final act of kindness undo (at least in part) a life brimming with sin, theft, lies, and debauchery? What is the source of happiness? Of contentment?In this fast-paced story about a millionaire fraudster evading the law in a quiet, shabby town of Mexico, Graham Greene hopes to find the answer. At least to some of the questions.Horror/Thriller#1: The lottery - Shirley Jackson (4 stars)A village. 300 people. A charged morning. A lottery. A winner. A twist.#2: A face in the dark - Ruskin Bond (3.5 stars)From Mr. Bond, comes another story set in the backdrop of the hills and valleys of Shimla. The story of a boarding school and its brave headmaster. A story that brings out all of your primal fears. A story with the basic elements of horror - the dark of the night, the eeriness of the howling winds, a strange sighting and a twist ending.#3: In the penal colony - Franz Kafka (4 stars)In a fast-paced story that slowly reveals, in the true sense of an actual horror movie, its various twists and turns and its arsenal of fear, Kafka manages to scare the reader and at the same time fill them with a certain amount of sympathy for the devil and bewilderment at the actual happenings in the story.A traveler is invited to be the witness to a sentencing - a seemingly, outdated custom that tortures the guilty for hours before killing them. He must pass a judgement on it. What would it be?#4: Man From the South - Roald Dahl (4 stars)"A fine evening," he said. "They are all evenings fine here in Jamaica."In this brilliantly crafted tale of a bet between an old man and a young one, things suddenly take a turn for the grim. The pacing of the story is fantastic and keeps you hooked till the end. And the ending - another twist in the devil's tale.#5: The tell-tale heart - Edgar Allan Poe (4 stars)From the master of mystery, comes a tale worthy of his praise. The first person confession of a madman who murdered an old man and then describes it to the reader in vivid detail to prove his sanity. The story is eerie - you have the constant feeling of being watched because of the 'unreliable narrative' and the fact that the lunatic addresses the audience directly.#6: A good man is hard to find - Flannery O'Connor (3 stars)A normal family. Mother, father, kids, grandmother. A routine family vacation. A little detour to find something exciting. An accident and a deadly encounter.#7: The face on the wall - E. V. Lucas (3.5 stars)A group of people discussing the supernatural. An outsider with a real narrative. Three extraordinary things about the story.#8: The open window - Hector Hugh Munro (Saki) (3 stars)A man with a nervous condition visits an old lady on the behest of his sister to calm his nerves. While waiting for her, he engages in conversation with her niece and tale goes grim.#9: The most dangerous game - Richard Connell (4 stars)A celebrated hunter and a published author is thrown overboard a ship on a dark night. With every ounce of energy in his body, he manages to swim to safety and arrives on an island, uninhabited by humans except for a game hunter and his looming man-servant.Discussion over dinner soon converges to the one common topic - hunting. And how, for someone who has hunted all his life, most game is boring and no longer a thrill. That is when the hunter reveals a chilling truth - the discovery of an entirely new game that promises to break the monotony of the 'cunning hunter vs the dumb prey' routine.#10: Where are you going, where have you been? - Joyce Carol Oates (4.5 stars)A story that leaves you perplexed and befuddled. One where you are not sure what the story really was about?Over the years, many people have attempted many interpretations of Oates' masterpiece, but every alternative eventually leaves out something. This could be a story told from a delusional victim's standpoint about the advances of her predator. Or it could be an allegorical tale about the corruption of young people by satanic cults. Or it could be on the broader theme of giving in to sins.I don't know. Let me, if you do.Comedy#1: The secret life of Walter Mitty - James Thurber (3 stars)Made into a motion picture starring Ben Stiller, The secret life of Walter Mitty is a comical narrative of a man who's blurred the lines between reality day-dreaming. Weaving through multiple episodes of real life and fantasy, it is a wonderfully paced story that will leave you chuckling at the end.#2: Cookies - Douglas Adams (3.5 stars)A train journey. 2 strangers. And a packet of cookies.#3: The nose - Nikolai Gogol (3.5 stars)A barber wakes up one day and finds a nose in his roll. Another gentleman wakes up and finds his nose gone.However absurd, or improbable, this may seem, it does happen. (Or does it?). Gogol again displays a knack for weaving stories out of the pure bizarre and sprinkle it with his signature flavor of comedy.Romance#1: About love - Anton Chekhov (4 stars)What is love? Is it rational? Can it be defined scientifically or diagnosed medically? Why do people fall in love? Why, sometimes, do they fall for someone who is their exact opposite? What is it about love that leaves even the strongest of people completely hapless?Is it fine to love someone who is already with another person? Is it fine to profess your love to them knowing well that it could disrupt their perfectly peaceful existence?All these and a multitude of other questions are answered in this beautifully crafted tale by the master himself.#2: A girl I knew - JD Salinger (4 stars)I saw a girl standing on it, completely submerged in the pool of autumn twilight. She wasn't doing a thing that I could see, except standing there leaning on the balcony railing, holding the universe together. The way the profile of her face and body refracted in the soupy twilight made me feel a little drunk.A story that is not as much about love as it is about losing it. The story of a man who flunks college and is sent to Europe to master his trade, is advised against socializing much and falling in love, but who inadvertently manages to do just the opposite. A classic love story of romance, of the first jitters of love, of moving away, of writing letters. A wonderful love piece with a few splotches of some grime here and there.#3: Selkie stories are for losers - Sofia Samatar (3.5 stars)A weird tale of love and loss. With just a pinch of folklore and fantasy. While you are jumping from one narrative to another, you feel like being shaken intensely without being allowed the time to understand what exactly is going on. But once the dust settles, you can see the whole picture.#4: The eyes have it - Ruskin Bond (4 stars)A blind man on a train journey meets a female companion. During their 3 hour conversation, he doesn't let her know that he lacks sight. And then her station arrives and she leaves. (Oh the simplicity of it!)#5: The water that falls on you from nowhere - John Chu (3.5 stars)In the near future water falls from the sky whenever someone lies (either a mist or a torrential flood depending on the intensity of the lie). This makes life difficult for Matt as he maneuvers the marriage question with his lover and how best to “come out” to his traditional Chinese parents.The story of Matt and Gus, a same-sex couple who truly love each other, but do not know it yet is one that upholds the roots of traditional story-telling. There is no embellishments, no forced sub-plots. Everything leads to the next thing in a way that is simple, yet beautiful. The premise of the story is new and straightforward, but the narrative, due to the way it is seamlessly weaved together, lingers with you like the misty air on a December evening.#6: The silence here owns everything - Kirsten Clodfelter (2.5 stars)The perfect companion piece to the previous story by John Chu. It's a story of two girls - Natalie and Kendra. Friends on the surface. Lovers and probable soulmates deep beneath.Throughout the narrative, you can pick up subtle hints that Nat is in love with Kendra, but somehow, every opportunity where she could express it eludes her. The story ends abruptly, as if a teenage girl one day, simply forgot to take out her diary and pen her memoirs. It leaves you with a certain sense of absence, and yet you can feel that it's the ending you really wanted.#7: On seeing the 100% perfect girl one beautiful April morning - Haruki Murakami (3 stars)What do you do when you chance upon your 100% perfect girl? What do you say? Haruki Murakami comes up with the perfect story for such a rare happenstance.#8: A rose for Miss Emily - William Faulkner (4.5 stars)Faces are tsignNowerous things. Behind the serene expressions that people carry lie complex machinations that no human technology or intuition can completely comprehend.And so is love. Love drives us to do great things. It goads us to signNow out, extend our arms, and push ourselves to achieve the impossible. But it also pushes us over the cliff once in a while - over the boundaries of sanity, of happiness, of self-preservation.Crime#1: Lamb to the slaughter - Roald Dahl (3 stars)A perfectly happy couple. An expecting mother. A confession. A leg of lamb. And an intricately covered up murder.
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How does understanding the elements of music impact the analysis of a narrative poem?
Scaringly difficult subject to write about, and surely, just as ambivalent. I possess no expertise on poetry nor on music, only what a curious & interested mind gathers over these past few years. Hastily point out mistakes or any others short-comings & fallacies.I will be quick to mention Milton, perhaps a little of Eliot, and lastly, Ezra Pound. The effect & connection between music and poetry has definitively varied throughout history. Sung epos & folklore songs, Provençal & Troubadour poetry,... roughly speaking, and this is my observation, the first wedge between the two has been made when poetry became much more erudite, soaked in words-meaning, and forgot the musical rhythms little behind, not that I value one over another.-- Anyway, 19. & 20. century welcomed the revival of the two, and again established connections. French symbolism, Modernism & new musical techniques ( revolution of style both in literature & music, the avant-garde was united across all fields ). Of course, one of the issues is how much of modern poetry can be marked as "narrative" in the obvious sense. The elements of music is such a vague term indeed…To start off with a quotation from Poe`s The Poetic Principle:Contenting myself with the certainty that Music, in its various modes of metre, rhythm and rhyme, is of so vast a moment in Poetry as never to be wisely rejected - is so vitally important an adjunct, that he is simply silly who declines its assistance, I will not now pause to maintain its absolute essentiality. It is in Music perhaps that the soul most nearly attains the great end for which, when inspired by the Poetic Sentiment, it struggles - the creation of supernal Beauty. It may be, indeed, that here this sublime end is, now and then, attained in fact. We are often made to feel, with a shivering delight, that from an earthly harp are stricken notes which cannot have been unfamiliar to the angels. And thus there can be little doubt that in the union of Poetry with Music in its popular sense, we shall find the widest field for the Poetic development. The old Bards and Minnesingers had advantages which we do not possess - and Thomas Moore, singing his own songs, was, in the most legitimate manner, perfecting them as poems.&A poem, in my opinion, is opposed to a work of science by having, for its immediate object, pleasure, not truth; to romance, by having, for its object, an indefinite instead of a definite pleasure, being a poem only so far as this object is attained; romance presenting perceptible images with definite, poetry with definite sensations, to which end music is an essential, since the comprehension of sweet sound is our most indefinite conception. Music, when combined with a pleasurable idea, is poetry; music, without the idea, is simply music; the idea, without the music, is prose, from its very definitiveness.And to finish, a section from a letter to James R. Lowell:I am profoundly excited by music and by some poems - those of Tennyson especially - whom with Keats, Shelley, Coleridge (occasionally) and a few others of like thought and expression, I regard as the sole poets. Music is the perfection of the soul or idea of Poetry. The vagueness of exultation aroused by a sweet air which should be strictly indefinite and never too strongly suggestive is precisely what we should aim at in poetry. Affectation which is thus no blemishMustek and Poetry have ever been acknowledg'd Sisters. As Poetry is the harmony of Words, so Mustek is that of Notes... Sure they are most excellent when they are join 'd. Blest pair of Sirens, pledges of Heav'ns joy, Sphere-born harmonious Sisters, Voice, and Vers, Wed your divine sounds, and mixt power employ Dead things with inbreath'd sense able to pierceMilton could have very well be a musician, -his father was-, and his music appeared in print from time to time, one notable contribution was Fair Orian in collection of madrigals in Honour of queen Elizabeth, The Triumphs of Oriana.He was a close friend with a composer Henry Lawes, and the two collaborated on The Masque of Comus, 1634.There is also a distinction to be made between Greek & Roman musica practica, which was performed & sung, and the Pythagorean musica speculativa, theoretical & mathematical understanding, — changed to Christianised harmonia mundi during the Renaissance revival ). Harmonica mundi can definitely be encountered in Milton`s early poetry, At solemn music, Ad Patrem, & passages from 'Arcades', Comus, and 'On the Morning of Christ's Nativity'.From At solemn music:“ … disproportioned sinJarred against nature's chime, and with harsh dinBroke the fair music that all creatures madeTo their great Lord.”See how disproportioned resonates with Pythagorean proportions, and it became disproportioned with the Original Sin and the fall from Eden. The reconciliation between the Classical/Pagan & Christian aesthetics and tradition was one of the foremost issues of early Milton. A passage from On the Morning of Christ's Nativity';The lonely mountains o’er, And the resounding shore, A voice of weeping heard and loud lament; Edgèd with poplar pale, From haunted spring, and dale The parting Genius is with sighing sent; With flower-inwoven tresses torn The Nymphs in twilight shade of tangled thickets mourn.From Paradise Lost:Celestial voices to the midnight air [...]With heavenly touch of instrumental soundsIn full harmonic number joined, their songsDivide the night, and lift our thoughts to heaven.& in Hell:Their song was partial, but the harmony(What could it less when spirits immortal sing?)Suspended hell, and took with ravishment The thronging audience.Partial music of fallen Angels & Broken music of man. And Book V:Mystical dance, which yonder starry sphereOf planets and of fixed in all her wheelsResembles nearest, mazes intricate,Eccentric, intervolved, yet regularThen most, when most irregular they seem;And in their motions harmony divineSo smooths her charming tones, that God's own earListens delighted.A quick stop with T.S. Eliot and modernism before Pound.Modernism was a turbulent period, literature was chasing music, music was chasing language, and both were born out of impulse to restore expressivity & eloquence that the formality has lost. An important shift has happened, there is no absolute, right or left, right is not the opposite of left, ocean does not kill the fire.Poe & French symbolism played a pivotal role, and I am not confident nor do I know enough to speak about French climate and the effects of Poe in the second half of the 19. century here.Just as literature changed, so did music. Even the so called more traditional composers, like Ravel, are less formulaic and more abrupt, not to mention the likes of Stravinsky. What is very intriguing to me is how well does modern art produce tensions despite the loss of totality & coherence, and how idiosyncratic arbitration took over without losing the profound and human effect of tensity. In this sense, music was not longer a music in musical forms, but rather that of consciousness and its fragmentation.The seeming homelessness of arts in the period is a precondition of the changes that occurred, and this is what T. Hardy called the ache of modernism. There are no happy ends, formulaic tragedies ethically victorious, nor obvious redemption ( debatable, Last part of The Waste Land is an example ). The widening canyon of separation & inability of pristine connectivity is a precondition of the age, and in itself, its product - Postmodernism, a headless human still digging in a graveyard of modernity, seeking hopelessly for a regenerative bone & praying not to find it - he would have to leave. This is why modernism has no green heritage, only skeletons. In Joyce`s terms, Scrupulous meanness. Even the Hegelian aesthetics “in the suspension of equilibrium lies the tendency to return to a condition of equilibrium”, even musical form through dissonance to consonance, is depleted. If one here remembers the quotes from Poe and his posture of indefinitiveness, how it went from his to symbolism and from there to modernism, acclaiming the suggestive aspect.One of the drives of modernism was to thrust poetry back from the street, or jungle, to the sublime, the rightful place, to perform the duties it deserves. The restoration called for a path through prickly subjects, even ironic and laughable, like Prufrock`s underwhelming question, but it manages to pass exactly due to that vagueness, and we sense it as our own.Perhaps all this has been rather imprecise, let me speak about Eliot.So, while poetry attempts to convey something beyond what can be conveyed in prose rhythms, it remains, all the same, one person talking to another; and this is just as true if you sing it, for singing is another way of talking. The immediacy of poetry to conversation is not a matter on which we can lay down exact laws. Every revolution in poetry is apt to be, and sometimes to announce itself to be a return to common speech.... The music of poetry, then, must be a music latent in the common speech of its time.The Use of Poetry and The Use of Criticism: “Poetry begins, I dare say, with a savage beating a drum in a jungle, and it retains that essential of percussion and rhythm” - like music.Fairly, music of poetry may differ from music of music, an awkward saying that while musical elements are important for analysis, but the musical elements in poetry categorically & theoretically & applicably differ from those that we apply to music per se.'From Poe to Valery´, essay:Poetry, of different kinds, may be said to range from that in which the attention of the reader is directed primarily to the sound, to that in which it is directed primarily to the sense. With the former kind, the sense may be apprehended almost unconsciously; with the latter kind - at these two extremes - it is the sound, of the operation of which upon us we are unconscious. But, with either type, sound and sense must cooperate; in even the most purely incantatory poem, the dictionary meaning of the words cannot be disregarded with impunity.Precisely, from The music of Poetry;[m]y purpose here is to insist that a 'musical poem' is a poem which has a musical pattern of sound and a musical pattern of the secondary meanings of the words that compose it, and that these two patterns are indissoluble and one.Simply a level beside the denotation of words. In`The Music of Poetry´ another inspect of this climate is presented:The music of a word is, so to speak, at a point of intersection: it arises from its relation first to the words immediately preceding and following it, and indefinitely to the rest of its context; and from another relation, that of its immediate meaning in that context to all the other meanings which it has had in other contexts, to its greater or less wealth of association.Which can be directly linked to his writings On Dante:In English poetry words have a kind of opacity which is part of their beauty. I do not mean that the beauty of English poetry is what is called mere 'verbal beauty'. It is rather that words have associations, and the groups of words in association have associations, which is a kind of local self-consciousness, because they are the growth of a particular civilization.As many words, music ferries such a rich history of meanings, definitions, and relations that is difficult to analyse the impact. Music in one of the Archetypes, and they are hard to contain. Music is a structure separate of understanding, insofar as it escapes the restraints of conventional meanings. The Music of Poetry is, if one takes a leap of imagination, an objective correlative, if I dare expand the term. If I use a line from D. Davie; "It is language which happens through the speaker and not the speaker who expresses himself through language.”-— Can this also be said about music, when it comes to early Eliot?In an 'Aspects of Rhythm and Rhyme in Eliot's Early Poems', J. Chalker, in sum, `The Use “the steadiness and predictability of musical rhythm” is to produce psychological reassurance in the midst of emotional disturbance.´—Such irony, after reading Prufrock, if I thinks solemnly of rhythm, I would say it conveys anything but the reassurance and predictability, yes, the irony that is serves as a distraction from emotional disturbances, and in this fact lays reassurance.Quite enough of Eliot…Ezra Pound!''The idea that music and poetry can be separated,'' he wrote, ''is an idea current in ages of degradation and decadence when both arts are in the hands of lazy imbeciles.''Opera Le Testament De Villon:He started at least two unfinished operas, Cavalcanti and COLLIS O HELICONII.( Two short recordings of the latter can be found here )Rhythm & Music, “the hardest quality of a man's style to counterfeit”.In his three essays about Music in Transatlantic Review, he strongly focuses & advocates time and time-intervals, arguing:“A sound of any pitch, or any combination of such sounds, may be followed by a sound, or any combination of sounds, providing the time interval between them is properly gauged; and this is true for any series of sounds, chords, or arpeggios”Emphasization of space and rhythm was, by space - `space in between concise images - in juxtaposition´ - one of prime concerns of Imagisme. Reader`s interaction is needed to form a connection between them. ( A short answer about In A Station of the Metro ) Another short poem, Alba:As cool as the pale wet leaves of lily-of-the-valleyShe lay beside me in the dawn.Pound˙s poetry, rhythm & music was always more about reaction than explanation, which, I think, anyone who has read him can agree, and that might very well be the only thing on which we can agree. Therefore Poetry & Music are two in one to achieving this reaction.I will briefly present his own attempt to compose a work based on his own poem, Sestina Altaforte (1909 )Loquitur: En Bertrans de Born.Dante Alighieri put this man in hell for that he was a stirrer-up of strife.Eccovi!Judge ye!Have I dug him up again?The scene in at his castle, Altaforte. "Papiols" is his jongleur."The Leopard," the device of Richard (Cúur de Lion).IDamn it all! all this our South stinks peace.You whoreson dog, Papiols, come! Let's to music!I have no life save when the swords clash.But ah! when I see the standards gold, vair, purple, opposingAnd the broad fields beneath them turn crimson,Then howl I my heart nigh mad with rejoicing.IIIn hot summer have I great rejoicingWhen the tempests kill the earth's foul peace,And the lightnings from black heav'n flash crimson,And the fierce thunders roar me their musicAnd the winds shriek through the clouds mad, opposing,And through all the riven skies God's swords clash.IIIHell grant soon we hear again the swords clash!And the shrill neighs of destriers in battle rejoicing,Spiked breast to spiked breast opposing!Better one hour's stour than a year's peaceWith fat boards, bawds, wine and frail music!Bah! there's no wine like the blood's crimson!IVAnd I love to see the sun rise blood-crimson.And I watch his spears through the dark clashAnd it fills all my heart with rejoicingAnd pries wide my mouth with fast musicWhen I see him so scorn and defy peace,His lone might 'gainst all darkness opposing.VThe man who fears war and squats opposingMy words for stour, hath no blood of crimsonBut is fit only to rot in womanish peaceFar from where worth's won and the swords clashFor the death of such sluts I go rejoicing;Yea, I fill all the air with my music.VIPapiols, Papiols, to the music!There's no sound like to swords swords opposing,No cry like the battle's rejoicingWhen our elbows and swords drip the crimsonAnd our charges 'gainst "The Leopard's" rush clash.May God damn for ever all who cry "Peace!"VIIAnd let the music of the swords make them crimson!Hell grant soon we hear again the swords clash!Hell blot black for always the thought "Peace!"As a remainder, poem’s speaker is the Gascon nobleman and war-loving troubadour Bertran de Born, who lived in the second half of the twelfth century. There is no way Pound would have wrote the poem in 1914, even 1913, with its pro-war orientation, but in the end, it is a traditional subject of epic.If one isolates the ending words of each stanza:peace – music – clash – opposing – crimson – rejoicing [Stanza I]rejoicing – peace – crimson – music – opposing – clash [Stanza II]clash – rejoicing – opposing – peace – music – crimson [Stanza III]crimson – clash – rejoicing – music – peace – opposing [Stanza IV]opposing – crimson – peace – clash – rejoicing – music [Stanza V]music – opposing – rejoicing – crimson – clash – Peace [Stanza VI]crimson – clash – Peace [Envoi]Not to get into a detailed analysis of this one poem and its technical mastery of Anglo-Saxon metre & alliteration, more famous in his translation The Seafarer.“The phrases are short (two to six small, quick bars), often similar but generally asymmetric, and impetuous with anapest driven leaps, creating an almost flickering quality. The sestina form, however, is used for purely structural function. There is no attempt at word painting or at a sonic/cognitive equivalent. The music matches the original poem, one note or chord per syllable, through the third line of the second sestet. From this point musical irregularities gradually encroach upon the monosyllabic relationship with the text. His formal method was to assign one or two extremely brief music segments (each segment consisting of a different chord, or two or three chords with or without a unison note) as a “sonic signifier” to identify each line of Altaforte’s six end words. When the end word appeared in its new position in the following sestet its sonic signifier would appear as a recognizable determinant. . . .“Remembering category #4 concerning “Criticism via music” in Pound’s essay “Date Line,” we can reflect upon the interpretive insights given us when Pound interrelates music and verse.2 As can be seen above, the temptation to read “Damn it all!” as a colloquial emphatic anapest is dissuaded by Pound’s more pungent cretic ( – ˘– ), giving equal emphasis to “Damn-all.” At the end of the line a spondee (two quarter notes) gives accentuation to “stinks peace,” correcting a tendency to slight “stinks” as a moderately unstressed syllable if giving “South stinks peace” the quite natural reading of a cretic. Similarly, in line six of the same stanza, “heart nigh mad” might be rendered a cretic, yet Pound’s musical setting as three stressed syllables heightens the emotional pitch of the poem by raising the tension on “nigh.” . . .“Under the influence of Antheil’s constantly changing time signatures and note durations[applied to the opera Le Testament] the solo violin sestina utilizes a constant shifting of the number of microbeats per bar from 1/4 to 21/32, with a frequency of triple and quintuple meters presaging the metric simplification of his music over the next two years. Yet Pound’s notation is not secure enough to avoid frequent miscalculations of the note lengths versus the time signatures.“A chordal piece with almost no single notes, frequently using triple- and quadruple-stops with one to three open strings, it repeatedly necessitates the use of “broken chords” or arpeggiation. The result is often a scratchy, disjointed, leaping quality as the player prepares the fingers to approach each new multiple stop. Yet the “breaking” of the chord also favors a clarification of the harmony by lessening the biting dissonance to produce a more consonant sound, often focusing on open fifths or, in arpeggiation, the sweetened effect of an incomplete major seventh chord. Although aesthetically clarified by a few interpretive markings (bowings, accents, staccati, glissandi, sordino, string specification), technically the piece is filled with impracticalities: jagged, wide leaps; constant multiple stops; and some extremely difficult quadruple- stops, which at best render the work barely playable, if not unplayable. (These challenging famous last words often eventually offer an extremely good performance!)” . . . ( Sestina Altaforte” Ezra Pound sets his poem to music )Aforementioned unfinished COLLIS O HELICONII;HYMN TO APHRODITEAphrodite subtle of soul and deathless, Daughter of God, weaver of wiles, I pray thee Neither with care, dread Mistress, nor with anguish Slay thou my spirit. But in pity hasten, come now if ever! From afar, of old, when my voice implored thee, Thou hast deigned to listen leaving the golden House of thy father With thy chariot yoked, and with doves that drew thee Fair and fleet around the dark earth from heaven, Dipping vibrant wings down the azure distance Through the mid ether: Very swift they came; and thou gracious Vision Leaned with face that smiled in immortal beauty, Leaned to me and asked, “What misfortune threatened?” Why I had called thee? “What my frenzied heart craved in utter yearning, Whom its wild desire would persuade to passion? What disdainful charms madly worshipped, slight thee? Who wrongs thee, Sappho? “She that fain would fly, she shall quickly follow She that now rejects, yet with gifts shall woo thee, She that heeds thee not, soon shall love to madness, Love thee, the loth one.”( John Myers O’Hara translation 1910, which Pound recommended )Scenario/librettoPound described his third opera as half-finished (GK 368). A libretto, two arias, and three instrumental works are the sum of materials we have to inform the staging of the opera Collis O Heliconii. Pound’s libretto refers only to the Catullus poem (see my comments and transcription of Pound’s libretto, COLLIS xvi–xix; 102–111). The joining of the opera’s central aria in Latin—Catullus’ carmen 61—and a secondary aria in Greek—Sappho’s “Poikilothron”—continued the pairing of languages heard in the second opera Cavalcanti (Italian and Provençal). The composer’s principal motivation for relating the Latin and Greek poems in an opera was to anchor modern English lyrics in the Greek rhythms while demonstrating how a grasp of Latin will refine a poet’s style.The four key actions of Sappho’s Poem 1 are Sappho’s invocation to the goddess Aphrodite; the goddess’s descent from heaven; Aphrodite’s direct address to Sappho regarding her dominance over human will; and Sappho’s invitation to Aphrodite to take action side by side to reverse an unrequited love.The relationship of the Sappho invocation to the Catullan poem, which is widely accepted as an epithalamium, is not an obvious one. But even if we overlook recent scholarship that depicts carmen 61 as a lampoon of an epithalamium, we can find structural resemblances between the two poems. Sappho’s poem provides an authorial match to Catullus’ carmen 61: each poet inserts her- or himself into the poem; each writes in a way that distances the poet as author from the passions written about; and each poem includes a theme of same-sex preference. It was Henry Wharton who first introduced the English reader to Sappho’s love for a female and possibly Theodor Bergk who earlier had done the same for the German reader (Williamson 51–52).2For contrast and drama in his opera, Pound would develop the literary relationship between Sappho and Catullus. He had named them in his 1929 essay “How to Read” as among the essential canon of authors "who actually invented something" (LE 27). In 1934, Pound praised Catullus for his treatment of sapphics: “. . . the only man who has ever mastered the lady’s metre” (ABCR 47). He published the essay “Date Line” the same year, claiming that the musical setting of a poet’s words was a fourth form of criticism (LE 74). Had Pound’s attempts at setting the two poets’ words to music led him to these declarations?Pound’s preference was for us to hear the two poets’ words in the original language, their rhythms and styles brought directly to our ear through the music—the successful formula he had used to dramatize the Cavalcanti–Sordello literary relationship in his second opera. Pound’s pairing of Sappho’s 1 with Catullus 61 removes Sappho from the sphere of influence of Ovid, where most readers became acquainted with her through reading the Heroides. The opera was to place her Latin legacy clearly on the side of Catullus. For more on this, see COLLIS, chapter V, “Sappho.”SapphicsEzra Pound's holograph score of his setting of Sappho Poem 1 from his 3rd opera,Collis O Heliconii.Shown: Introduction to End of Stanza 1 with sapphic stanza and transcription of Pound's lyrics added in red.Beinecke Rare Book and Manuscript Library (YCAL 53, Box 46/1015)Reprinted by permission, Second Evening Art. All rights reserved.Pound’s musical events in the Poikilothron convey a feeling for the meter through quantity and syllabic durations. Only the first stanza (see music score above) corresponds wholly to the sapphic stanza as defined by the Alexandrian grammarian Hephaestion (2nd century A.D.). Here is the sapphic meter as it has come down to us from Hephaestion’s manual of Greek meters, the Enchiridion:– ˘ – x – ˘˘ – ˘ – x– ˘ – x – ˘˘ – ˘ – x– ˘ – x – ˘˘ – ˘ – x– ˘˘ – –[The x represents an “anceps” in which the syllable can be short or long.]O’Hara, too, conformed only his first stanza to the Hephaestion sapphic. He maintained the feeling of sapphics through quantity (eleven syllables in the first three lines, five in the fourth), through a liberal use of the choriambic foot – ˘˘ – (though not always in the Hephaestion choriambic position), and through sounds in English that evoke the Greek sounds. Pound follows suit in the music (see the entry on Stanza 4 below).Musical InfluencesWhen Pound approached the setting of a Greek poem accompanied by lyre, he did not attempt to imitate ancient Greek music. Though he had acquired vol. 1 of the Lavignac Encyclopedia of Music which features Maurice Emmanuel’s entry on Greek music, he relied on this text more for its relevance to poetic meter than for compositional ideas.He lent Mary Barnard his own volume, recommending it as the preferred source for understanding how to write sapphics in American English using Emmanuel’s system of musical forms and strategies (Barnard, 56, 58).For his melodies, Pound looked beyond Greece, east to Indonesia. Pound turned his attention to the Javanese scale as had Claude Debussy, but distanced himself from the composer, lamenting that Debussy had turned to composing ‘mush.’3 Debussy had been influenced by performances of the Javanese gamelan at the Paris Exposition of 1889. Access to information about and recordings of world music were random and haphazard, the nascent field of ethnomusicology being represented by only a few key individuals until well into the 1950s.The specific source for Pound’s approach to the Sappho aria, however, is traceable to the Austrian Erich von Hornbostel, one of the earliest musicologists to make field recordings of the music of Indonesia. Hornbostel reported his findings in “Phonographierte Melodien aus Madagaskar und Indonesien” in 1909. Pound most probably learned of him from his friend, the American concert pianist Katherine Heyman, who mentioned Hornbostel in her 1921 bookThe Relation of Ultramodern to Archaic Music (58).4 On July 7, 1924, Pound programmed an arrangement of a Hornbostel Javanese transcription for solo violin, played by Olga Rudge in Paris.5Pound’s Musical Strategy: Modality and TonalityTo the ear accustomed to a diatonic scale, the intervals of Pound’s unusual scale join with the rhythms “to cut a shape in time” (Barnard, 55). Pound’s single accidental of C# in his scale for the Poikilothron aria resembles the transcriptions of Sumatran music compiled by von Hornbostel at the turn of the century.Pound employs six tones —A, C#, D, E, F, (G)—and avoids B altogether. The use of five tones only in stanzas one through four creates a sense of modal music, i.e., a type of scale that is sui generis, where each tone has equal weight, rather than tonal, which is a hierarchical system of music with a central pitch to which the other pitches relate. In modal music the notes do not function as harmony. Only in the fifth stanza does Pound introduce the G to create the sense of a musical key with the stable relationships of the fourth between D and G, and the already present fifth between D and A. The six-tone scale, with certain features acting like a diatonic scale which has seven tones, implies the key of D minor. B is simply avoided and the C# serves as a raised “seventh” step which wants to resolve to D.When the tritone sounds between G and C#, the composer moves from modal to tonal music. In Stanza six, he resumes modality.The contours of Pound’s melodies arise from the qualities of spoken word in the poem—supplication, solicitation, question, demand, and judgment—, the intervallic movement expanding and subsiding with the emotion. The composer brings forward the contours of Sappho’s words through timbre, dissonance, tritone, and accent. Guided by the belief that he can recover the form apart from the formulaic metrics passed down by tradition, he does not attempt to recover ancient Greek melody, but presents new composition as his fifth form of criticism (LE 74–75).Stanza 4: Inner form in Sappho’s Poikilothron:In stanza four, Sappho’s rhetorical devices lead to a highly structured colloquy between the poetess and goddess, even as the language remains colloquial. The composer strives to make this duality salient—structural formality/linguistic familiarity—not only to transmit Sappho to a modern audience but to promote his own interest in Sappho as a mortal poet conversant with the gods.At stanza four we find rhyming patterns in the syllables: otti deute / kotti deute. Here, Pound foregrounds Sappho’s word play by striking the repeating hard surfaces of her Greek consonants—t, d, p, k—against his neo-Sumatran scale, the strangeness of the scale serving to inflect each sound. Sappho’s voice rings out, resonant and striking in her Poundian afterlife, with none of the Ovidian invention and melodrama qualifying her poetic achievement.Stanza 4, lines 3–4, bars 45–49“You asked, what pray tell have I suffered and why pray tell do I call?”Following three breathy vowels on the same pitch, “e-re ot-”, the consonant load of the syllables, “ti”–“dau”–“te”–“pe”–“pon”–“tha,” meets each of the descending pitches with percussive impact. The final syllable pepontha (“have I suffered”) hits the bottom of the singer’s tessitura on A,an octave and a minor sixth below “e-re ot-.” The word kotti (“and what”) rebounds one octave higher on the A, then C# and A again,before a second leap downward to the low A. There follows a third and lesser rebound and descent. The word melodykalemmi (“do I call”), broken by a sixteenth rest, gives the illusion that all is settling down. Pound delivers the last syllable “-mi” on the less-than-resolute e to end the stanza (supported by an A in the violin).Stanza 5: the tritone in Pound’s aria Poikilothron:The Music Column of Make It New 2.1 discussed Pound’s use of the interval of the tritone to insert a critical marker indicating genius within the music. In the Sappho aria, we might expect that when Sappho refers to herself in the poem’s fifth stanza (“kotti moi”), Pound will employ the tritone, and he does not disappoint. He makes the tonality of the tritone salient by preceding it with modality in the preceding four stanzas and in the subsequent sixth stanza.What Pound said:“The more Greek a man knows the better his English cadence is likely to be, and the greater richness, variety, height, precision, colour of his criteria; the greater the variety of his ideas and memories of what verbal melody can be and should be; and the finer his perception of all verbal sounds whatsoever.”(Ezra Pound. “Dust upon Hellas.” Time and Tide XV.45 [November 10, 1934]: 1429–1430).“Greek seems to me a storehouse of wonderful rhythms, possibly impracticable rhythms. If you don’t read it and if you can’t read Latin translations from it, it can’t be helped. Most English translations are hopeless. The best are in prose.”(Ezra Pound. Letter to Iris Barry. July 1916. L 87).( SAPPHO IN POUND’S THIRD OPERA, COLLIS O HELICONII )I would still say that Pound`s musical interest & experimentation ( Classical Greek and Latin, 11th- and 12th-century troubadours like Arnaut Daniel and Gaucelm Faidi, French trouvères like Guillaume le Vinier, and their 14th- and 15th-century heirs like Dante, Cavalcanti and Villon ) were an extended branch, or outgrowth, of his colossal studies in versification. The sound, not semantics!Arthur Daniel, if Pound were asked to give a name of his idea forerunner of whom he said: “when the Provençal [language] was growing weary, and it was to be seen if it could last, and [he] tried to make almost a new language, or at least to enlarge the Langue d’Oc, and make new things possible” —Make it new! The famous motto.OBLIGATORY listening, a different reading of Sestina Altaforte. If you do not hear the music, Sir, God help thee…So, how does understanding of music impact poetry? — Some say intrinsic, and some have not given it a thought or two. Same goes with criticism & analysis.
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What are some good short stories?
The Fearless WarriorIn the early hours of a warm winter sun when light once again overcomes darkness, the master gives his student the sword of the greatest warrior who ever lived. MASTER:This my child is the sword of the greatest warrior of the times past. The warrior is now dust but not the sword. He who possesses the wisdom of this sword is freed from the ravages of life.STUDENT:Oh Master! I do not know if I am worthy of this honor. I will however do my best to earn this metal. I will become the fearless warrior!MASTER:In time you will, but always remember "those who master it give it away and those who don't, keep it forever".The student thanks the master for the sword and walks away to become the master of his universe. He trains day and night, mastering every move with every stance. He becomes faster than the fastest, brighter than the brightest and stronger than strongest. Confident in his training he returns. STUDENT:Master! I have mastered the sword. I have attained the unattainable. The sword has become my friend. I am now fearless! MASTER:If you say so, fetch me a bucket of water from the eastern foothills of the Himalayas and I will believe you are, what you say you are.STUDENT:I will go right away master.The student signNowes the eastern foothills only to find it guarded by the fiercest bandits known to man. He immediately takes out his sword and the battle begins. Defeated at dusk, the student returns. MASTER:Where is the water my child?STUDENT:Another chance master! They were many! I was not prepared, but now I am! I have the sword, I am truly fearless!MASTER:Try again at dawn.The student tries again and is defeated again. Another chance, another try, another defeat. The student persists but the outcome always remains the same. Disgusted, broken and disappointed he returns. STUDENT:This is all a lie master! The sword has failed me! The greatest sword in the world is no match to those bandits! Here, I give it back! MASTER:Who told you that you possessed the greatest sword in the world my child?STUDENT:You did! Master.MASTER:I see. You did not understand. I gave you the sword of the "greatest warrior" of the times past not the "greatest sword".STUDENT:I do not understand!MASTER:Go fetch me a bucket of water without the sword and you shall have the wisdom you seek.STUDENT:Without the sword? They will kill me! I must have a weapon master! MASTER:Aren't you fearless?STUDENT:I am master!MASTER:Then take a leap of faith.And so the student arrives for the last time at the eastern foothills of the Himalayas. Armless, hopeless but courageous, he looks across the valley to meet his end. His eyes widen with disbelief. The foothills are empty! Not a single bandit in sight! Confused, amazed and overjoyed he quickly fills the bucket with water and returns. STUDENT:What a coincidence Master! The foothills were empty! I did not need the sword! MASTER:There are no coincidences my child. Only lessons. You see the bandits were a manifestation of your fears. The sword will teach you to be the fastest, the strongest and the brightest warrior in the world, but to become the fearless warrior you must let go of the sword itself. As long as you rely on the sword you are bounded by fear. Never fear what will become of you, depend on no one. For only in the moment when you reject all help, are you truly freed. The greatness is in the warrior not the sword my child. The sword is merely the lesson. Water is your goal. Today you have defeated fear. The wisdom is now yours. STUDENT:I understand master. The whole point of existence is to have no fear. The greatest sword is no sword. The warrior is always powerful than the weapon. As long as I held on to the weapon I was afraid but when I let go I became fearless. Fear is a choice and so long as we choose not to be afraid our path will always be clear like the water we wish to seek! And so the student became the fearless warrior and the master of his universe. He no longer needed the sword for he knew that those who master it give it away and those who don’t keep it forever.For more short stories, you can follow The Protagonist
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