Romanticism and Classicism Essay Example for Free

Romanticism and Classicism Essay Both Romanticism and Classicism deal with a certain psychological truth – however, they use different techniques to show this truth, and, consequently, show different sides of a persons psychology. The Romanticists take a lyrical stance – they explore a persons emotions and subjectivity. Mostly, this is done in poetry, because poetry generally provides more creative leeway and is more metaphorical. Like any short form, it needs less consistency, but is allowed to focus more on emotion and whatnot. A poem can be created only to portray a feeling or a group of feelings. For instance, Yeats poem â€Å"The Second Coming†, even though its first-person perspective is only seen directly in two lines, the feeling of apocalyptic dread is spread throughout the whole poem, from the first lines ( Things fall apart; the centre cannot hold; /Mere anarchy is loosed upon the world, ) to the last ( And what rough beast, its hour come round at last,/Slouches towards Bethlehem to be born? ). This poem is completely dedicated to showing a single aspect of emotion. It does not require development, but rather elaboration and metaphor, both of which Yeats provides plenty. Moreover, the rhythm and sound of the rhymed word itself is used often to convey an emotion. (Incidentally, Romanticist prose, which is not covered here, also uses these techniques much more than Classicist prose). See Yeats again: â€Å"Turning and turning in the widening gyre† already creates a spinning sensation of something huge, the repetition of the us and is makes the line sound as if it were turning itself. The sounds and rhythm strengthen the feelings the words already evoke, in this case – that of the world turning in on itself – and when in the next line, â€Å"The falcon cannot hear the falconer;† we are faced with a relatively small bird, the illusion of a transition from microcosm to macrocosm is evoked. Portraying subjectivity is easiest to do from a first-person position, because it allows the poet and the reader both to get into the head and soul of the character. This is shown well in most Romantic poetry. For instance, Owens in his descriptions of war depicts the horrors from his own, first-person view, and attempts to make the reader sympathize by creating images that invite a certain empathy, in this case – a feeling of horror at things two people in dialog fear together. An especially powerful example is present in Dulce et Decorum Est (If in some smothering dreams you too could pace /Behind the wagon that we flung him in, /And watch the white eyes writhing in his face, /His hanging face, like a devils sick of sin;). It can be done from the third-person, however. This is generally done from selective omniscient, by showing things from a chosen characters viewpoint. Emotion can also be shown just by writing about the actions of the person, but this is generally used in the dramatical poetry, which is more common in the Classicists. Mostly, narrative is used for the Romantics when there is an actual need to show not just a feeling, but a transition from one emotion to the next. A real master of this is Joyce, who, while not precisely a Romanticist, knows the Romanticist technique well, and utilizes it to his own means. Joyce shows us a change in Gabriels behaviour. Specifically, he utilizes a very interesting technique: in the beginning, he does not give us any insight into Gabriels thought: when we first see Gabriel, he is just one of the characters. There are many others, who may be just as important – although the fact that everyone is waiting for Gabriel and his wife is a certain foreshadowing of the fact that ultimately he will be the main character, it is still far from certain at this point. (â€Å"O, Mr Conroy, said Lily to Gabriel when she opened the door for him, Miss Kate and Miss Julia thought you were never coming. †). As the story progresses, however, we gain gradual insight into Gabriels thoughts as they become more and more mixed in with his deeds, and by the end of it, we are completely in Gabriels mind (â€Å" It hardly pained him now to think how poor a part he, her husband, had played in her life. †) Any outside factor is a symbol for the Romanticists, a tool for self-identification. The difference between them and the Classicists in this case is that for any Classicist the outside world with its obstacles is objective – even when a hero acts or reacts, they are working in an environment. For a Romanticist, environment is optional. In fact, most of them prefer to relate directly to matters such as life and death, to notions which would be deemed abstract, and many avoid the situations in which we face these notions in life. This is well-seen in Tennysons â€Å"In Memoriam†: â€Å"I held it truth, with him who sings /To one clear harp in divers tones, /That men may rise on stepping-stones /Of their dead selves to higher things. † How precisely this stepping is done, Tennyson does not show. But it is these symbolic transitions, the way a human being relates with eternity, that make up the real life of a human being. The situations one faces in life are mere shadows of this real, symbolic life. This is why when the Romanticists use colorful metaphors, and another great lot of textual technique in an attempt to transfer to the reader what can only be felt, to incite an emotional state, this is not only to evoke a feeling – feelings are the meat and drink of life, like actions are to the Classicist. It is this sensual experience that is real, and a transition in feeling, its ennoblement is seen as a more valuable – a more ontologically real, if you will – change than any actions that change ones material status. For an example, let us turn to Yeats once more, and how he describes this spiritual transmutation upon his death, in â€Å"Sailing to Bysantium†: â€Å"Once out of nature I shall never take/My bodily form from any natural thing,/But such a form as Grecian goldsmiths make/Of hammered gold and gold enamelling†. In essence, Romanticism submerges us in the characters subjective viewpoint, and attempts to make us believe the characters actions by placing us in the characters place. They externalize the characters feelings by projecting them unto our own. For instance, Coleridge in his â€Å"Kubla Khan†, gives an image and a feeling which it evokes in his lyrical hero, and attempts to reproduce that same relationship within the readers own soul: â€Å"A damsel with a dulcimer In a vision once I saw :/It was an Abyssinian maid,/And on her dulcimer she played,/Singing of Mount Abora. Could I revive within me/Her symphony and song,/To such a deep delight twould win me,† The Classicists attempt to portray objective reality as far as they are able – be it by directly addressing real-world issues, or by exploring them through story-telling. A direct discussion on a real problem is shown in Mills essay, where the narrator steps as much away from any personal arguments as possible, and attempts to appeal only to objective facts, and even if his own experience is used, it it always as de-personalized as possible. Nearly any quote from his essay is demonstrative. â€Å"The generality of a practice is in some cases a strong presumption that it is, or at all events once was, conducive to laudable ends. This is the case, when the practice was first adopted, or afterwards kept up, as a means to such ends, and was grounded on experience of the mode in which they could be most effectually attained. † As we can see, he speaks in the third person as much as humanly possible, making general observations about the nature of humanity and society. The Classicists who work in fiction generally work in the narrative, because it is easier to portray outside factors from the neutral point of view of a narrator, rather than from the subjectivity of one character. The preferred mode is pure omniscient. We can see this if we return to Joyce, who in the beginning uses a fully omniscient mode , to show us a multitude of people and detail, to give us a panoramic view and a feeling of objectivity before he begins to focus on the internal evolution of Gabriel. â€Å"Lily, the caretakers daughter, was literally run off her feet. Hardly had she brought one gentleman into the little pantry behind the office on the ground floor and helped him off with his overcoat, than the wheezy hall-door bell clanged again and she had to scamper along the bare hallway to let in another guest. †) Joyce uses this technique to set the stage, to give the mood in which the transformation happens. I believe (though I am not sure whether this is the view your professor has on the subject) that the difference between Joyces story and the â€Å"classic† Classicists is that for him the objective world is neither a place to act in nor a tool of transformation: it is just a backdrop, a setting in which interaction occurs. However, selective omniscient can be used, as well – as long as one gives enough detail that the character notices, but does not classify as important, while, in truth, they play out their part, and a reader – always from his birds eye view – can notice this. A good example is Mansfields â€Å"The Garden†, which utilizes a selective omniscient point of view. Mansfield uses both details that are general, that create the mood both for the character and the reader, (â€Å" That really was extravagant, for the little cottages were in a lane to themselves at the very bottom of a steep rise that led up to the house. A broad road ran between. True, they were far too near. They were the greatest possible eyesore, and they had no right to be in that neighbourhood at all. †), and those that are exlusively thoughts of Laura (â€Å"Is mother right? he thought. And now she hoped her mother was right. Am I being extravagant? †) Some of Mansfields most interesting technique is how she shows the transition of moods through the difference in details Laura notices. Compare the beginning of the story (â€Å"Then the karaka-trees would be hidden. And they were so lovely, with their broad, gleaming leaves, and their clusters of yellow fruit. They were like trees you imagined growing on a desert island, proud, solitary, lifting their leaves and fruits to the sun in a kind of silent splendour. ) and near the end of the story, when she learns about the death (â€Å"Now the broad road was crossed. The lane began, smoky and dark. Women in shawls and mens tweed caps hurried by. Men hung over the palings; the children played in the doorways. A low hum came from the mean little cottages. †) It is still a beautiful sunny day, however, Laura is in no shape to notice it. This is the kind of subjectivity that is allowed in Classicist literature: a subjectivity that is a reaction to the objective world. Classicism is versatile enough to allow it, but it never allows this subjectivity to take completely first place. At best, like in Mansfields works, it has an almost equal role to objective actions. Classicism can even work from completely a first-persons view, as Virginia Woolf shows. But here it is emphasized that the author is subjective but trying to transcend this subjectivity: even in the first person, she attempts to step out of conventional social roles – even those she takes on herself and look at things rationally and reasonably, and, possibly, with irony. It is a curious fact that novelists have a way of making us believe that luncheon parties are invariably memorable for something very witty that was said, or for something very wise that was done. But they seldom spare a word for what was eaten. † Woolf takes many liberties with her texts, and experiments often with styles and conventions – such as the listing of various foods, or the ironic descriptions of conversations, or unconventional views on known topics. Like a philosopher, she brings to attention things that are rarely noticed (â€Å"Have you any notion of how many books are written about women in the course of one year? Have you any notion how many are written by men? Are you aware that you are, perhaps, the most discussed animal in the universe? †). But all of these are things that exist in the real world. You will find few abstractions in her works, and even those have a grounding in some sensual experience that she has. She is very skeptical indeed of any matter of pure spirit, indeed, she does not believe in them in the common sense of the word. (â€Å"One cannot think well, love well, sleep well, if one has not dined well. The lamp in the spine does not light on beef and prunes. We are all probably  going to heaven, and Vandyck is, we hope, to meet us round the next corner—that is the dubious and qualifying state of mind that beef and prunes at the end of the day’s work breed between them†) This is what attempted objectivity from the first person looks like. Mixed modes work well, too. Conrads â€Å"Heart of Darkness† is a great example of this: he often gives descriptions which could be both from the third person and the first person (â€Å"The Nellie, a cruising yawl, swung to her anchor without a flutter of the sails ), and even those he gives explicitly from the first person are always shown as attempting to step away from direct emotional perception, such as in the scene where the hero thinks about the reason why the savages are cannibals. (â€Å"I would no doubt have been properly horrified, had it not occurred to me that he and his chaps must be very hungry: that they must have been growing increasingly hungry for at lea st this month past. †) This is very typical of Classicism, to look for outside solutions to ones feelings, and, instead of feeling something directly, to attempt to reach feeling throughout experience and logical thought. A Classicist cannot emphasize directly; Conrad could not have written something like, â€Å"I saw the hunger in his eyes and realized with a sharp jab of the conscience that, had I been so hungry, I would have been no different. † A Classicist will only portray the internal logic of his heroes, he cannot attempt to have them experience something they did not, even in the imagination. They remain captured by their own lives. What is important about Classicism is that it is almost always in prose. There are, of course, exceptions to this rule, such as Browning, but they are few and far between. Poetry adds an extra, undesirable dimension to a text. It is the dimension of subconscious influence – by the sound of the words, by the rhythm. Classicism, of course, cannot step completely away from using techniques that influence not so much by meaning, as by style – so long as the work is a work of literature – but they do their best not to emphasize on the technical style of things. Even if they use technique, it is as simple as possible. The Classicists wish the text to be transparent, as opposed to the many colors of Romanticism. Conrad is, once again, a good example here: his descriptions are dynamic, yet very simple: â€Å"One evening as I was lying flat on the deck of my steamboat, I heard voices approachingand there were the nephew and the uncle strolling along the bank. † Complete contrast to the falling and raising of the Romantic worlds, Classicism uses Occams Razor as much as possible. Classicism likes to use a dramatic stance: it generally does not tell us about what the person is feeling, but rather attempts to allow us to see for ourselves from the persons actions. For instance, Browning in his poetry – a rare example of a dramatic approach in it – does not give us feelings directly. Instead, he gives us actions and thoughts related to those actions, not self-reflection: like when he writes about the painter Fra Filippo Lippi (Or Lippo Lippi, as he calls his hero))(â€Å"/Zooks, whats to blame? you think you see a monk! What, tis past midnight, and you go the rounds,/And here you catch me at an alleys end/Where sportive ladies leave their doors ajar? †) This says more about the character of the frater than any self-reflection upon the nature of necessity to go out at night would have. For the Classicists, it is an emphasis on that only the deeds of a person are actually real, and the thoughts essentially matter only as stimuli towards action . This is an externalization of the characters psychology by projecting it upon the world.

Travels Abroad with Goethes Italian Journey :: Traveling Goethe Analysis Essays Papers

Travels Abroad with Goethe's Italian Journey Foreign travel, I think, is one of the most rewarding experiences you can have in life. You never really get a chance in life to explore who you really are and what you believe until you're able to leave your daily life and spend time in a place where everything's drastically different. Of course, not all travel is mind opening and horizon broadening. Some people just go abroad in a tourist frame of mind. The only thing they want to do when they visit somewhere else is visit famous sites, eat local food, and buy presents for those back home. Tourists really have no interest in local cultures and ways of life, and don't want to think about these things while on vacation. I admit: I've been both a traveler and a tourist in my life. Who hasn't? When I went to Disneyland, I wasn't interested in the local cultural structure and values of the inhabitants of Anaheim; I just wanted to get my picture taken with The Little Mermaid. And being a tourist is fine in its time and place, but when one goes places as a travel, ah that's when the really life changing experiences begin. This past week, my group did a presentation on the Italian Journey of Johann Wolfgang van Goethe, and while I didn't do the hardcore analysis of the literary text (I did the biography and web encoding), the topics my group discussed are still an interesting look into the character of a traveler and his discoveries abroad. What I've gathered from his diary entries is that Goethe went as a traveller and tried his best to understand the spirit of the Italian people, not just savour local wines and see the works of great Renaissance artists. He seems to be staying with Italian friends and trying to experience the daily life of inhabitants in Rome and Naples and other places he stayed. I myself have had two major experiences at being a traveler. In November 2000, I was lucky enough to be accepted on a homestay in Japan. This meant that for a week and a half I got to visit Sapporo, Japan while living with the Suzuki family and attending Nishi High School with their daughter who was about my age. Much like Goethe who had been told about Italy all his life by his father and

Kite Runner Pomegranate Tree Essay

In Khaled Hosseini’s novel, The Kite Runner, the changing depiction of the pomegranate tree symbolizes the changes in Amir and Hassan’s relationship, and is woven into the novel’s central theme of sin and redemption. Throughout the novel Hosseini depicts Amir’s struggle to redeem himself ever since he witnessed the rape of Hassan and stood by as a silent bystander. Amir and Hassan shared a very close friendship doing everything together yet the loyalty between each other was lopsided. Amir could never match Hassan’s unconditional love and loyalty towards him and this sets up the internal struggle in Amir’s mind, because he was sensitive enough to realize the unfairness of the situation. Hosseini uses the pomegranate tree throughout the book as the backdrop for describing key events that influence Amir and Hassan’s relationship. The first depiction of the tree portrays a safe haven but subtle details in the passage point to the events that unfold later. As children, Amir and Hassan spent many hours under the shade of a pomegranate tree up on a hilltop where Amir would read stories to Hassan. Here the pomegranate tree is a symbol of comfort, a place where he and Hassan could be alone sharing the simple pleasure of storytelling. Amir’s description of the â€Å"shadows of pomegranate leaves dancing† on Hassan’s face depicts the protective aspect of the tree, a sanctuary for the two friends (28). The tree and hill are symbolic of Amir and Hassan’s friendship; the tree is rooted in the hill but as the seasons change both the hill and the tree change and so does their friendship. The mention of seasons foreshadows how over time Amir and Hassan’s friendship will be destroyed, in the same way that the rain had turned the â€Å"iron gate rusty† and caused the â€Å"white stone walls to decay† (27). When Amir and Hassan return to the pomegranate tree after the rape, Amir says to Hassan he will read him a new story as they walk up the hill and a sense of hopefulness is conveyed. Amir points out that the â€Å"grass was still green†. Here the green is symbolic of hope and renewal and it connotes Amir’s effort to fix his damaged relationship with Hassan (91). However, when Amir describes that the green grass atop the hill will soon be â€Å"scorched yellow† it also foreshadows Hassan and Ali’s abrupt departure from Kabul, and the devastating impact this has on Amir and Baba (91). Hosseini’s use of the word scorched connotes an event that happens suddenly and is a premonition of worse things to come. Amir is not able to deal with his memories of their happier days under the tree, and instead of storytelling he decides to provoke Hassan to reproach him for his own inaction when the rape occurred. Amir’s ulterior motives – to provoke Hassan and not tell stories – are revealed when he â€Å"picked up an overripe pomegranate† (92) and throws it at Hassan. The overripe, rotting pomegranate is symbolic of a wound that has been left alone too long, the guilt of Amir not helping Hassan when he was raped. The pomegranate fruit itself represents the complexity of their relationship; it is a fruit with a hard skin that is difficult to peel and inside there are beehive-like segments hiding hundreds of red pulpy seeds. Amir is not able to come to terms with his guilt and tries to avoid Hassan at first, but later when he tries to make amends he realizes that for Hassan it will never be the same. The pomegranate also alludes to the forbidden apple from the Bible, symbol of the original sin, and thus it serves to foreshadow the events that are just about to unfold. As Amir hurls pomegranates at Hassan, he repeatedly calls Hassan a coward, but in reality he is letting out his own frustration in the hopes that Hassan will retaliate. He is trying to cover up his guilt for not intervening when Hassan was raped, almost as if Amir is trying to justify that Hassan is the coward and not himself. Once Amir stops pelting the pomegranates he sees Hassan â€Å"smeared in red like he’d been shot by a firing squad† (93). The imagery here represents how deeply Amir’s actions and words had wounded Hassan. Ironically, it also foreshadows the eventual death of Hassan, later in the novel, when he is shot by a Taliban firing squad. When Amir returns to Afghanistan after receiving Rahim Khan’s letter, he finds Kabul under the Taliban regime totally changed. As Amir walks up the old â€Å"craggy hill† from his past he realizes that nothing is the same (264). The craggy hill now represents the destroyed Afghanistan. Amir describes that while walking up the hill every breath felt â€Å"†¦like inhaling fire† (264). This simile illustrates how much pain walking up the hill causes an lder Amir now, although it was something he did almost every day with Hassan when they were carefree children. When he reaches the pomegranate tree, he recalls Hassan’s letter saying â€Å"the pomegranate tree hadn’t borne fruit in years† (264). The barren tree is symbolic of how their friendship was ruined twenty years ago in the winter of 1975. But when Amir locates the faded carving of his and Hassan’s name on the tree, the fact that â€Å"it was still there† makes the pomegranate tree a symbol of hope once again and shows Amir a way to atone for his sin (264). After so many years and so many struggles their friendship was tattered but upon seeing it, Amir finally resolves to redeem himself for the guilt of betraying Hassan; a betrayal that became a heavy burden on his shoulders for twenty long years through his silence and inaction. The changes of the pomegranate tree depict the changes in Amir and Hassan’s relationship. We first see it as the lush shady tree from Amir’s childhood where he and spent countless hours reading stories. Next it appears as the scene where Amir destroys his friendship with Hassan. And finally, it is at the same but now barren pomegranate tree where Amir returns and locates the fading reminder of his long lost friend. Each conflict in Amir and Hassan’s friendship was always on Amir’s part. It was Amir who stayed silent when Hassan was assaulted, it was Amir who tried to provoke Hassan’s reproach by throwing pomegranates at him, but it was also Amir who made the effort at the end to rescue Hassan’s son and his nephew, Sohrab. Like the faded carving, Amir’s friendship with Hassan had faded but never completely disappeared. Amir made the worst mistake of his life but he still had an opportunity for redemption, and that was by rescuing Sohrab from the Taliban and acknowledging him as his own flesh and blood If he didn’t, he knew he would go to his grave with the guilt of the sin he committed in the winter of 1975. While atonement for one’s sin is the central theme of The Kite Runner, the pomegranate tree is one of the main symbols used by the author to show Amir’s journey for atonement and redemption in the book. Hosseini’s repeated use of the pomegranate tree serves as a useful symbol to understand the evolving relationship of Amir and Hassan.

The Expansion Of Professional Baseball - 1553 Words

How Did the Expansion of Professional Baseball Relate to the Time Period? Perry Wilson Geography I Baseball has evolved from a regional sport in the 1850’s to a national sport today. In this paper I will discuss the expansion of baseball and how the challenges of various time periods relate to the number of teams and their location. There are three main reasons that baseball’s history relates strongly to the geographical theme of location. First, when baseball was an emerging sport in the late 1800’s, most travel was limited to train. If a team was imagined in the west, then it would be a three day train trip to get there just to play a game, and then all the way back. For this reason, all of the original baseball teams were†¦show more content†¦The people living there wanted to enjoy Major League Baseball (MLB), and the cities had the money to support a team, so the National League eventually recognized this opportunity and baseball expanded to the west, covering all of United States. Baseball around the time of the Civil War was based on amateurism and played by club members. As popularity grew, paid players began to sneak in although not openly. Eventually this changed. the CIncinnati Red Stockings were the first openly professional club and used pay to attract the best players. Soon many clubs were â€Å"professional† and pro leagues began to form. There were many leagues at first, the National Association of Professional Baseball Players (1872) which became the national league, the Western League (1893) which became the American League in 1901, the Union Association, and others. But the National League became dominant and signed all the best players. â€Å"Organized baseball had a monopoly, they didn’t want any rival leagues to be formed.† The original teams were in boston, Brooklyn, New York, Philadelphia, Pittsburgh, Cincinnati, Chicago, and St Louis, and this area remained within the reach of overnight train travel. A huge factor for early professional baseball s limited expansion was that teams travelled by train. â€Å"This meant that there could not be any teams very far away from each other, because it would take too long to travel there for an

Writing Is An Art That Improves Through Time With...

Writing is an art that improves through time with consistent practice and exploration of one’s skills. Prior to this class, I have always considered myself to be an efficient writer. However, my writing was limited in the scope of academic writing, due to the fact that throughout my high school career, that is the most of what was expected to be written from me. In this class I was able to dive further into my writing and explore with my skills in the context of creative writing, poetry, as well as fictional writing; something I had little to no experience in. With the correct guidance from you, my professor, and consistent practicing, I was able to create five pieces that I believe to be some of my best work in these particular genres of†¦show more content†¦Like all works of writing, it is ultimately a work in progress, as is this writing. However, I still believe that it highlights a strong aspect of my skills; the ability to explore and execute. It was this assign ment that ultimately pushed me through to the fictional realm of writing; the assignment that tipped me over the edge into a completely distinct writing than that of academic. It was ultimately the beginning of my transition into a greater work of skill as a writer. Thus, there was more work created throughout the duration of the class. The second work that is presented in this portfolio is a moment in time assignment that was written, titled â€Å"Life and Marriage.† This writing was very personal to me, similar to the creative nonfiction assignment that I wrote. As stated before, writing on the matter of personal experience is difficult to do. Nonetheless, I feel as though I excelled in this assignment in the sense that I was able to incorporate my ideas clearly and tell a story through my emotions, yet without clouding it’s intended message. This assignment has ultimately taught me the possibility as well as ability to incorporate personal experience to strengthen m y work, and to create a meaningful lesson and interpretation from it. Every writing has it’s own meaning to it, and with this specific piece, I was able to

Gene Col An American Comic Book Artist - 2171 Words

Gene Colan was an American comic book artist best known for his work for Marvel. He is best known for his work on 1964 Daredevil, Howard the Duck, and The Tomb of Dracula. Colan was inducted into the Will Eisner Comic Book Hall of Fame in 2005. He passed away in 2011. Gene Colan’s mark making is exceptional. The strokes of the pencil and hatching are used to communicate form and structure to the figures and elements in his drawings. Solid black would immensely flatten the images, but the quick hatch work brings energy and life to the characters. This portrait of a vampire character is a good example of the hatching to create form. The vampire’s hair is swept back away from his face. The marks show this form. The eye brows are†¦show more content†¦The mark making in the man in the last panel align with the contours of his head and face, bringing form to his features and facial structure. Similar pencil strokes are scene in the crowd, but are less pronounced when compared to the man in his own panel. The buildings are successful in the sense of pattern, but are not correct in terms of perspective. Overall, this page has nice mark making, but lacks in readability. The black placement in the page brings attention to the areas framed by light. The figures are the focal point in both panels. In the first panel, the black placement weights the bed as it recedes into the floor, but then is balanced out by the cast shadow of the wall in the top left corner. The second panel has a similar effect from the bed black placement. However, the face on the poster on the wall is staring right at the viewer, and he becomes the focal point of the room instead of the figures in the bed. The hatch direction gives form to all the surfaces of the room. The bed covers specifically benefit from the directional hatching in the folds. The forms also benefit from the directionality. The artist has left plenty of room for world bubbles and any other text. The overview of the down shot successfully establishes the anchor points of the room before moving to a close up on the characters in the bed. The perspective n the image is misleading, as the back of the bed seems to beShow MoreRelatedSummer Olymoics23416 Words   |  94 PagesWorld records * 3.5 Medal count * 4 Broadcasting * 5 Marketing * 5.1 Logo and graphics * 5.2 Mascots * 5.3 Chariots of Fire * 5.4 Sponsors * 6 Controversies * 7 Drug testing * 8 See also * 9 References * 9.1 Book references * 10 External links | [edit] Bidding process Main article: Bids for the 2012 Summer Olympics By 15 July 2003, the deadline for interested cities to submit bids to the International Olympic Committee (IOC), nine cities had submittedRead MoreContemporary Issues in Management Accounting211377 Words   |  846 Pagesterms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloguing in Publication Data Data available Typeset by SPI Publisher Services

Descriptive Writing Samples free essay sample

The Descriptive Writing task in Unit 3 is worth 7. 5% of the subject award and is marked out of 20. The mark given for each of the examples provided is supported by comments related to the criteria given in the specification for (i) Content Organisation; (ii) Sentence Structure, Punctuation Spelling. A notional grade is indicated in each case, based on the way that the same mark scale for Writing has been used in the past, and consistent with the uniform mark scale which will be used in the future to report results. However, it is important to note that in practice grade boundaries are determined when units are awarded, and that prior to this individual students’ marks are subject to internal standardising and external moderation. AP/JF/W40(10) Page 1 A School lunch hall (Please note that this descriptive task is not available for the 2012 entry) Condensation slides its way down the window, leaving behind it a ribbon of smooth, murky darkness. The sheer suffocating heat and humidity inside suggests the number of drenched bodies seeking refuge from the relentless onslaught of rain. In one corner, a single teacher loses the battle to restrain a group of shouting children and is swamped in a wave of uniformed bodies. Buzzing with anticipation, their instincts triggered by the promise of food, the mass of children charges past him into the canteen. Dragging back some small measure of control, he finally manages to stem the flow and continues to thin out the crowd at a steadier pace with many jealous glances towards the table where several of his fellow teachers lounge, indulging in a few sweet, children-free minutes. As the room fills, the shouts, yells and vague discussion coming from the hoard of tatty teenagers rise to a pitch and volume that could shame a football crowd. Wanting to live up to their reputation, the children continue their barrage of sound, undeterred by the half— hearted efforts of their teachers. Finally, however, as the initial rush of eager bodies reduces, the disruption falls to a minimum and the children split off into groups. At the centre of one such gathering sits a rather plain girl putting up with the unwanted attention of several of her social superiors. She is clearly used to this type of bullying, and she continues her meal in silence. Finally bored with watching their comments bounce off the girl without effect, the group turn their attention to a table surrounded by an invisible force field apparently coming from its dozen or so occupants. This group seems to reject any lesser being that attempts to come within three feet of their sacred ground. This creates a ring of admirers who look up to the mixture of reputation and charisma within. Those teenagers within this bubble of admiration seem to have no intention of letting any others into the group. Enough gold and fake diamonds to replicate the entire crown jewels covers the same uniforms that seem to repel any similar attempt by any other pupil. One particular girl, smiling with all the dazzling intensity of a chat show host, is obviously a new addition to the group. Ecstatic at her place in this most sacred of circles, she looks down from the Mount Olympus of the dinner hall at the insignificant drones beneath her, attempting to display some of the haughty dignity of the established members of the gang. As the initial lure of the dinner hall lessens, several of the hardier students decide to brave the weather outside and leave the overcrowded, damp stuffiness to those willing to endure it for its relative comfort and the knowledge that hours spent on hair will not have been in vain. Suddenly a loud crash echoes around the hall bringing most of the children out of their relaxed stupor. For once the whole student body is united in hilarity, all eagerly scanning the three-hundred or more people for the guilty party. The culprit (a minute, year seven boy) stands next to the offending pile of broken china and, as several of the older students begin to whoop, proceeds to flush a deep red as he prays for an escape from the blinding spotlight. Unfortunately, the hole in the ground fails to appear for him as it has failed so many others in similar situations and he is left at the mercy of hundreds of delighted teenagers. Finally, the yells subside, quelled by steely glances from several of the teachers, and they are replaced by the ominous tinny chime of the bell, forcing all the children out into the merciless rain. Commentary This student confidently fulfils the requirements of the descriptive task. The individual scenes are well observed and the whole piece is structured around a sensible time frame. SSPS aspects are handled with assurance and the vocabulary is extensive. This work deserves a mark of 20. AP/JF/W40(10) Page 2 The Scene at a Funfair Dazzling those around, the bright lights flash, almost blinding any who dare to look their way. The cacophony of sounds, each clashing horribly with the next, is almost deafening. The acrid taste of diesel fumes burns the back of the throat of anyone who gets too close to the rickety Teacup ride. A group of excitable toddlers are being herded along by over protective mothers bobbing along like brightly shining Chinese lanterns. One lags behind, gazing wistfully at the waltzers, while his mother tries to persuade him to go on the Teacups. Teenagers are huddled on a corner, one clutching his can of lager like a newborn son. Another crushes his can beneath his foot and lobs it over the heads of the unsuspecting crowd. He is oblivious to his girlfriend, whose face is tearstained, as she shouts at him. I cant believe you, she cries, hurls her last insult, and storms away, quickly followed by a small group of girls. They spend the rest of the evening throwing dirty looks at the boys, none of whom seem to care. Spinning faster and faster, the waltzers occupants scream hysterically. The louder you scream, the faster we go, an impersonal voice claims on the intercom. As the ride explodes with noise, the operator yawns and throws a lever. Outside his soundproof hut the ride accelerates, then, climax over, it slows and stops. The controller stumbles out of the box and lets the flushed people off of the ride. Some go straight to the back of the queue, others teeter off, stumbling over their own feet. Gritting his teeth, a man in the car park presses the accelerator to the floor, but to no avail. The grass is unrecognisable under all of the mud that has been churned up by the cars that have been coming and going all day. His face reddens as the wheels spin, spraying mud on to a shiny red Ferrari that someone was unsuspecting enough to bring. People are pointing and laughing and the owner of the Ferrari is shouting. Finally, someone is helpful enough to push him on his way and he leaves at top speed, without even bothering to say thank you. On the rollercoaster, a young girl screams, while her older brother looks almost ready to fall asleep. Her best friend in the seat behind is looking slightly green and is very much ready to go home. The little girl whoops even louder at the top of a precipice and tries to get her brother to do the same. He is not going to comply, however, as he has resolved to never take his sister to a funfair again as she is embarrassing him. Tantalizing wafts of delicious scents pour from the hotdog stalls and burger vans, enticing the weak willed civillians to sample their goods. Mothers turn out their pockets for enough to buy the over priced food for their screaming toddlers. Teenagers squabble over who owes who money, and the girl who split up with her boyfriend is treated to a hotdog by her friends. Commentary This description is accurate, has good details, and is written in the third person which is probably the best way to attempt it. The student takes a non-narrative approach using impressive vocabulary which is not overdone. Towards the end it becomes a little fragmented but the last few lines tie up with the opening, referring to the toddlers and teenager, though these references could be more explicit. There is a good range of well-chosen vocabulary and the description has some life and energy. The SSPS element is strong and suggests a secure grasp of the mechanics. This is good quality work and deserves a mark of 18 (12+6), notionally just into A*. AP/JF/W40(10) Page 3 The Beach Carefully choosing their places among the sea of sunbathers, the new arrivals to the beach lay down their towels on the glistening sand as a red-faced toddler chants, I want ice cream, I want ice cream! as he passes the multicoloured van with his already exasperated mother. Shops and cafes line the beach, a cool summers breeze wafting the savoury scent of hotdogs and burgers towards beach-goers and tourists, tempting them to buy the delicious treats. Seagulls circle the beach like vultures, occasionally pouncing on an empty crisps packet or fallen ice cream, only to be scared away by intrigued children or angry parents. Lounging on their luxurious houseboats, the wealthy residents of the marina gaze out to sea, watching the gentle waves move against weathered rocky outcrops. On one of the larger houseboats, a family of five dine on a bronzed lobster talking happily to each other. Scuttling along the sea-stained sand, crabs of all shapes and sizes frantically make their escape from determined rock poolers. Wielding her flimsy pink net, a young girl of around five perches on a boulder, laughing joyously as she scatters shrimp and prawns alike. Staring happily at his collection of shells, a young boy laughs as the waves lap at his feet. Ice cream in hand, his mother watches him lazily from under the cheap, colourful umbrella. As if on a mission, a younger boy of around three digs at the sand, sweating as the sun beats down on him. On a cliff, high above the beach, stands an aged man, grimacing at the inferior beings below. Clad in a huge overcoat, heavy black boots and a scarf wrapped around his neck, the greying individual turns and begins his journey home. Carelessly floating on a pair of lilos, two teenagers talk ceaselessly breaking out in laughter and falling off their bright pink lilos every so often. The scent of hotdogs makes them hungry as they drag their lilos to the shore, intent on coercing their parents into opening their wallets. Rain begins to fall on the beach, awakening sunbathers and scattering beach goers. As people start to pack up and leave, the rain grows heavier, causing bikini-clad girls to scream and take cover under umbrellas and food stalls. Engines roar in to life, and the beach is completely empty. Commentary This work is accurate and stays on task. A number of scenes are considered in a ‘zoomed in’ and clear fashion but the work is the rather fragmented. The structure and links could be better. However, the accuracy is impressive and this deserves a mark of 16 (10+6), notionally grade A. AP/JF/W40(10) Page 4 The scene at a funfair As the ground, caked in thick, slushy mud, vibrated, crowds swarmed like ants. Thumping through the rides, a myriad of sounds boom through the speakers; passers by are subconsciously moving away from speakers as if in a trance. One little boy, with chestnut locks, ivory skin and frightened, emerald eyes, stands shivering in a corner. As a rowdy bunch of drunken lads shove past, his small, soft, blue teddy bear is knocked out of his hands. Scared still and speechless, he begins to wail even more heartily. His hands clutch tightly to his dummy, his knees are cutely knocked and his toes pointing inwards. Slowly, snot trickles down as his face begin to sweat slightly. Meanwhile, a blond teenager, dressed in a skimpy top and high heels like stilts, eats her generously filled chip butty with a bored expression. Boys surrounding her are childishly goofing around and she sighs deeply. Her shoulders are slumped forward, her elbows perched on her crossed legs and her lipstick smudged. She isnt noticed by anyone around and slumps off sulkily. Bright lights pierce through gaps between rides and children are momentarily blinded. Couples kiss passionately, children gape in awe, girls gleefully giggle and parents protectively cling to their children. A couple are striding towards the hotdog stall, allured by the tempting aroma. Gently, the man guides his girlfriend while fishing out his loaded wallet. He lifts his chin to smell the delicious tantalizing smell of hotdogs and grins. Hungrily, he licks his dry lips and smacks them together. Leaking out, fatty smells enclose customers and circle them almost tempting them to leave without paying. Trapped by cold, steel bars people are locked into rides and pushed against the hard, chipped plastic seats. Kids squirm. Uncomfortably, they wriggle around until noticing the thrilling view of the funfair. Gasping in true amazement, a scrawny girl with two French plaits points and cries, Oh mama! Look there! in her high pitched, squeaking voice. A mammoth of a woman, dressed in pink, replies smiling and tugs her back as if afraid her most precious treasure may fall. Commentary In this piece, the student is perhaps too ambitious with the vocabulary which results in the description having a slightly forced feel to it. Some sections, for example those relating to the little boy and the teenage girl, are not clearly linked to the task. Nevertheless, the work is competent and interesting. The student could have given it more shape returning to the little boy at the end perhaps. As it stands, it seems to be a bit fragmented with a number of free standing sections. Still, this is good work and deserves a mark of 15 (10 +5), notionally B. AP/JF/W40(10) Page 5 The scene at a funfair The fair was shining with all the lights gleaming and glinting in the night sky. Every stall and ride was a buzz with excitement. The sound of laughter filled the air as a jolly old man was dunked into a pool of ice cold foul smelling gunge by a cocky teen having a night out with his girlfriend. The texture of the cotton candy that tasted oh so sweet in your mouth as you greedily scoff it down. Every time a prize was won by a small child, having the time of his life, you could see the delight on his face while he hugged his new novelty bear. The line for the helter-skelter was nearly out of the entrance booth as one by one a small girl or boy would come wizzing into view on the tatty, worn out rug that was then passed along to the next person in the line. A tall and lanky girl made the twenty foot climb up the stairs to continue the cycle. Down she went, the view un-noticed by dripping eyes as she accelerated down. Safely landing at the bottom, she handed over the rug and raced to the back of the line. Over at the hook a duck stall, prizes were going like hot cakes. Every lucky person bagging one of the bigger prizes, while every unlucky person won a smaller and less enjoyable prize. One boy, about sixteen, hanging out with his friends was teasing a certain duck with the long metal pole that was there. Here ducky, come to daddy, come on ducky. He tempted but, being made of plastic, the duck did not respond and carried on drifting away lazily to the other side of the pond. Accusing the game of being fixed he stomped off throwing his Hello Kitty doll to the dirt. The fair was now packed with eager children, tugging on their parents arms to get them a hot dog or let them go on the ghost train or well you get the picture. Gambeling dads bet on the test your strength games and anxious mothers kept a vicelike grip onto the utterly bewildered children by their sides. A gang of hooded teens had just been allowed entry to the park. nd immediately ran behind the bouncy castle and lit up their cigeretes, gingerly puffing out smoke to impress each other. One started to cough and wheeze as he drew in and almost immediately collapsed to the floor. The majority of the boys laughed but the smartest of them all whipped out his phone and, dailing 999 he summoned an ambulence to rescue the choaking boy and another rang his mother, who was their faster than the ambulance, to smother her son and give him, and the others, an earful about why smoking is bad as the sound of the siren vanished into the buzz and excitment of the continued fair ground fun. Commentary In places this description becomes a little generalised and the end is over-dramatic and moving towards narrative. A number of the details could have been developed more fully. The inclusion of the speech fragment is good and adds life to the description. The piece is not overlong but contains a lively view of the situation with some respectable vocabulary. SSPS aspects are generally sound though there are a number of spelling errors and the occasional verbless sentence. Nevertheless, the work deserves 14 (9+5), notionally B. AP/JF/W40(10) Page 6 Fun Fair It was early evening when I first approached the fun fair. It was full of life and everyone was laughing and smiling. Lights lit up the dark sky. There were queues around the main stalls, forming a snake shape so people could get past. In one corner of the park was a sweet stall. It had everything from gum, sweets and chocolates to slushys! Kids were crowding around so they could get first pick of the sugary goodness, climbing over and pushing each other like a group of wild apes fighting for the last banana. They waved their hotly clenched money in their hands looking for attention. The older people looked on in disgust at their greed. To the right was the ultimate fun fair ride- the Bumper cars with the sound of bangs when they hit each other, the screeching of the tyres. Parents with their children laughed as they were shoved and jolted from side to side. Standing in the corner was a tall boy, with dark spiky hair and big brown eyes. He wore ripped jeans and an old top and looked really bored and day dreamy as he was exchanging money so people could go for the bumper thrilling fun. Walking further up, I could hear screams from the Ghost Train which was clearly being enjoyed by the daredevil groups of teenage boys determined to frighten their petrified girl friends. Further on, excited children queued for the Helter Skelter each receiving a mat before rushing up the stairs to slide down cheered on by doting parents. Many returned to the queue wanting to repeat the experience. In the distance was a stall of hot food. The smell of bacon sandwiches invited me in. As I approached the stall I could hear the sizzling of the bacon. Cuts of chicken and turkey were ready to be served as the hunger driven people to desperately feed their appetites. Commentary The main problem with this piece is brevity. However, the student draws some interesting pictures and the vocabulary is varied and appropriate. The approach is a little narrative driven which is often the case when the first person is chosen but there are some detailed sections to the work. The SSPS aspect is strong. This balances the relative brevity a little to result in a mark of 13 (8+5), notionally C. AP/JF/W40(10) Page Railway Station Great white pillars guard the entrance to the railway which hold hand crafted iron gates, that have been there since the place has been built, now rusting under the attack from rain. Chaotic noises fill the inside: the quick paced footsteps of travelers searching for their train or train times and the frantic voice of the tannoy alerting people where to go. Ammoungst the myriad of confused people, there stands a frail old lady, her hair a delecate grey colour like when, on a cloudless night, the moon shines upon water. Glasses perched on nose, she scans the plethora of train facts and figures to try locate the stand where her train is. To the right of the old lady, next to an out of date dull red phone box, there sits a sleepy beggar who smells like a unpleasant concoction of alchohol and vomit. Grasping his cup, the man pleads for spare change from passers-by. Speech slurred, noone understands him and they walk quickly on by. The sadness which the beggar is feeling at this point intoxicates the room like ink in water. Later on as the day draws to a close, the once busy station is now a ghost town. Rail workers pack their bag and return to loving familys whereas for the night watchers the day has just began. The sun climbs down turning everything orangy chrome colour and short sharp breezes continue to turn the litter into the only thing bieng heard. In the distance, a final train, probobly with no more than 20 people on it, can be spotted. Mice dart from shadow to shadow quite noticably yet sneakly. The station now waits for another day of people to come. Commentary This is an ambitious piece in terms of the vocabulary used but sometimes the student over-reaches a little making it slightly artificial. Occasionally, words are misused (‘†¦intoxicates†¦Ã¢â‚¬â„¢). The expression is also awkward in places (‘Great white pillars guard the entrance to the railway which hold hand crafted iron gates, that have been there†¦Ã¢â‚¬â„¢) The detailed descriptions of the old lady and the beggar are good but there are a number of errors within the piece with simple words misspelled (‘ammoungst’, ‘delecate’, ‘bieng’ etc. ) and also an agreement error (‘†¦pack their bag†¦). It is also brief. All in all, balancing the ambition with the brevity and errors this work deserves 12 marks (9+3), notionally C. AP/JF/W40(10) Page 8 Funfair Carnival chaos causing crazy cookey corruption fills the frantic atmosphere whilst bundles of smiling, exhilerated faces shiver at the ear-wrenching, spine tingling screams which escape the living nightmare which is the horrific House of Horrors. A myriad of peaceful melodic music echoed smoothy from the merry-go-round, soothing the manic emotions which uplifted the firey fair. Panting, plastic ponies aimlessly drifted around the multi-coloured stage, each individual taking its turn to be admired by envious children. Immense, electric lights franticly flash, spin, turn tumble then rapidly change, shooting into the ebony black sky, mascarading as silver colonies of shimmering stars. Like a moth to a flame, the hyponotized audience pushed, shoved and grasped at the magical illusion the merry-go-round was creating, intising them to experience the adreniline which pumped through their veins, keeping the ride alive. The essence of sweet rippling candy-floss hinted the air, distracting the hyperative families. A plump, peachy women smiled whilst she elegantly coiled and twisted the fluffy concoction around a stick, playfully perfecting the sugary mixture. Commentary This piece is too brief. Clearly the student is able but the overall effect of the writing is not convincing. The ability to use ambitious vocabulary is a valuable asset but it must be used with restraint. In this piece, it is clear the student is determined to make the prose as dense as possible. This has a negative affect disengaging the reader who is left wondering why candyfloss should be ‘rippling’ and why faces should be described as ‘bundles’. ‘Myriad’ of ‘music’ also sounds strained. The student is too consciously trying to show the width of the vocabulary choices available without always thinking about which words are the most suitable. Hence, the work becomes over-rich and artificial. This is not an uncommon problem in descriptive writing and students are best advised to be as realistic as possible. The work should remain natural. In addition, this piece is fragmented and has no clear structure. The SSPS aspects are by no means perfect and there are number of errors. This piece is just worth a mark of 11 (7+4) given the brevity and the occasional confusion, notionally D. AP/JF/W40(10) Page 9 Beach The huts lay across the path like a giant Rainbow in the sky. All different colours, the sheds sitting silentley; staring out too sea in content. Each shed lay in perfect distance apart; never were there two colours the same. People, familys and couples gentley passed. Admiring their beautiful beach. The smiles on their faces showed how proud they were to say that this wonderful place belonged to them. Families often wandered past; raising their index finger and pointing out to the unique blue sea, showing their children that there was a wonderful world out there. Childrens faces gleamed! as if father christmas had came early, their faces lit up as if they had never seen a beach like this before. But they were right, they haddent. The beaches sand always seemed to be silky smooth. As if someone had sat out late and night had made the same into complete perfection. Butterflies were always around, flying gracefully without a care in the world. Beautiful coloure they were, bright shocking blue ones landed within close distance and passed slowley; like they knew no harm would come upon them. Couples would lay down on the beach together, holding hands. It was as if their bodies sank into the thick sand as soon as they sat down. Hand in hand they would just sit and watch life go by. Smiling into complete nothingness, but the glistening shore and the tight clench of each others palms. Further down the beach. Mayhem struck; tiny children clenching onto their buckets and spades whining at their worn out looking parents to move faster. Sandcastle off all heights, shapes and sizes lay across the small section of the beach with their creators towering over them no one dare too knock them down. Inside the cafe gazing out of the windows were stressed out mothers, taking time out. They stopped every few seconds too check every thing was okay; and when they saw there children playing in complete content. They would swivel their heads round and sip on their tea. Only to be forced to gaze again from that steamed out window, trying to make sure every thing was in place. The smells of strong coffee floated in the air. Women buying cookies for the dribbling children. Sitting anxiousley waiting to dig there gritty nails into the soggy cookies. As the cookies were laid out directly in-front of them mums would whisper now what do you say and the children with confused faces would answer with hesitation, ‘Thank you. Mum’. After this there was no stopping the greedy animals, as they dug their claws in and made all signs of food scarce. The blissfull beach has lots of amazing views. This beach is my home. Commentary The student tries very hard with this piece and it is clear that she has grasped the basic idea of looking at detail closely. The shaky sentence construction and other errors (Childrens faces gleamed! as if father Christmas had come early. ) are worrying. There are a number of verbless sentences too (e. g. lines 2-4) which reduce the overall effect. Spelling is sometimes wayward (‘haddent’, ‘there children’) but the content s quite reasonable and it is a good length. The final paragraph adds little to the essay as a whole. This essay is a perfect example of a piece where, if the mechanics had been correct, it would be easy to award a C grade. However, the SSPS aspects are so weak (particularly the problem with verbs) that a lower mark of 10 (7+3) notio nally D must be given. AP/JF/W40(10) Page 10 Railway Station I first saw the Train station on a misrable, wet day in London. The stairs leading down to the under ground were Damp and dirty from Peoples foot prints. The handrail was even more gritty, There was chewing gum underneath, Old Train ticket stuck to the bottom and Spray paint along it. The smell was unbarable, it smelt like 3 month old curry and garlic mayonise. When you open your mouth you could even taste the curry. The sound of the station was seriouly terrofiing, The sound of Rumbling train tracks, screaching breaks and the muttering of Thousands of people entering the Train Station. In the corner there were some young dancers Busking for money. One of them was wearing a strange hoodie with a zip going all the way up to the top of the hood. The Sound of the music was getting quiter as the big crowd of Buisness men and women were scampering to get a Seat on the train. As the train arrived the sound of thumping feet got louder as more People came down the stairs. As the seconds went by more and more people arrived and left, then a fight broke out. The fight lasted for about 5 minutes until a police Man came and arrested both of the boys. Then there was a quiet muffled voice saying welcome to london my Italian Friend. The sound of sirens got quieter and quieter as it drove away into the distance. Then there was a cry of laughter as a young girl was getting tickled by her dad. A beam of happiness shone from her smile, the world is full of kindness for her but for us it is full of war and hate Commentary This is a good try from a student of obviously limited ability. He has included a variety of detail with some attempt at development (e. g. in the first paragraph) and the contrast of the sirens with the girl’s laugh at the end is pleasing. The problem is, of course, the mechanical aspect. He tends to use capital letters indiscriminately and comma splices abound. However, it’s not a bad length and covers some ground, fulfilling the requirements of the task. A mark of 9 (7+2) notionally E does not seem unreasonable. AP/JF/W40(10) Page 11 The scene at a fun fair Brightly, the lights beam of illuminous hot pink, baby green and blinding yellow. The music booms like an elephant running through a forest. Then another flash of illuminous colours. Walking through the rusty, pyramid-shaped entrance. A whole new atmosphere envelopes you. Peircing, screams of joy and happiness. Reving sounds of rides preparing to zoom away. Music booming out like an elephant running through a jungle and then BANG the ride finishes and the next load is led on. A little Boy brimmed with happiness. His smile taking over his chubby cheeks. He sprinted over to the big dipper and cwtched on to the front of cart. Anxiously, his mum watched on be careful and hold on, she yelled. Before he could reply the ride set off. Twisting and turning through all the different obstacles in the ride. Upsidedown and then back again. 2 minutes later and the ride zooms back to base. The boys cheeks little chubby and red now. But his smile still rapidly getting bigger. His mother sighed with relief and glared at her little puff ball son that was nicely wrapped up in his overly insulated coat, with pride. Looking round, some little children seemed to be engulfed by the magic within these walls. However, a group of teenagers didnt seem to be that impressed. Sitting intimadatingly by the waltzers. There faces bored and unhealthily pale. One smoked a cigerette whilst another gulped 2 cans of lager. Parents stared in awe as to why they were wasting their lifes and influencing littler children into bad habits. An elderly lady timidly walked past them. Chucking a can of larger at her, one of them chuckled away to herself and widened her merry brown eyes to try and take a rise out of her. Commentary There is some ambition in this work and some of the descriptive details are sound. However, the sentence structuring and the mechanics are weak in places and this reduces that aspect of the mark. Also the student twice includes similes which do not work very effectively and this demonstrates the point that it is important any imagery used is appropriate and sensible. Some images become so common (e. g. ‘as fast as a cheetah’) that they become cliched. Others are so inappropriate as to be ridiculous. Such approaches will not impress the moderators. This work is worthy of a mark of 9 (6+3), again notionally E. If the student had been prepared to check for incorrect punctuation and sentence structure, the mark could have been considerably higher. AP/JF/W40(10) Page 12 Funfair Walking towards the fairground was a thrill in itself One that built with everystep. The night was cool but dry; perfect for a great night out! The fair wouldnt be visible until we turned the final corner but already our expectations and the sheer suspense of it all were building to a peak. Sounds were already beginning to pour through the air, Boom Boom Boom! and laser lights were lighting up the clouds making them seem somehow unearthly and weird. we were going to have the time of our lives. London and wow was it big! It shone like a circle of diamonds in the sky. Spangled, bright and vivid. Surly the london eye cant be bigger than this right? How can they transport such hugh things on a back of a lorry? The next thing that us was a glourious warm smell smell unique to funfairs: a mingling of frying hot dogs, chees burgers, fried onions, candyfloos toffie apples and diesal fumes! This was a delight for the sences. Commentary This is brief work. As the student does not actually reach the funfair until the second paragraph (i. e. half way through), there is a problem of relevance as well. The opening of the second paragraph does not make much sense (‘London and wow was it big. ’). On the plus side, the work is fairly accurate until the final paragraph when the spelling collapses. Brevity, however, remains the main problem since the student has not included a great deal of detail in her work apart from the ‘smell’ paragraph. This is a major weakness. Ever since descriptive writing became a requirement in the legacy specification, we have suggested that the best approach for the student is to ‘zoom in’ on detail if he/she wants high marks. This work is worth 8 marks (5+3) notionally E. Lack of detail, too much time spent on the arrival and brevity are the main problems along with the spelling weaknesses in the last paragraph. Beach scene As I look at the beach I can see the rocks with waves crashing agenst then and I can also see a boat that is lonely as a planit in a black hole and as crooked as a broken photo frame. The sand looks sticky as a swamp and the sky is as grau as my mums jumper. I can smell the slaty sae. I can smell fish and chips from the van. And I can hear a dog barking down the beach. I can hear the seagulls sqaking and the waves crashing against the rocks and the little children shouting about there sandcastles, I can taste the salt and vinegar in my crisps. I can hear my mum calling me to go and have a picknick. Commentary This piece is very brief and often inaccurate. However, it is on task and attempts to convey some of the experiences one may come across on a beach. The student chooses to work through the ‘senses’ and this does her few favours as the sentence structures are repetitive. There are a large number of errors though sentence demarcation is clear and she attempts some imagery.