Listen to the video and read the lyrics. You may want to do this a couple of times. Try answering the questions below, just to get you thinking critically about the songs you hear.
Questions:
1. A "vision softly creeping" is what?
2. How do you know he still remembers his dream?
3. In his dream, was he walking in a city or in the country?
4. Was it warm or cold?
5. Who are the people, really?
6. Why didn't anyone disturb the sound of silence?
7. Did people listen to him?
8. Why does he stress that the neon god was made by the people.
9. What kind of god is the neon god? False or True
10. Are the words on the subway walls and tenement halls true?
11. Does it take more courage to write songs or to write graffiti, according to the author?
12. What are the sounds of silence?
1. Use commas to separate independent clauses when they are joined by any of these seven coordinating conjunctions: and, but, for, or, nor, so, yet.
2. Use commas after introductory a) clauses, b) phrases, or c) words that come before the main clause.
3. Use a pair of commas in the middle of a sentence to set off clauses, phrases, and words that are not essential to the meaning of the sentence. Use one comma before to indicate the beginning of the pause and one at the end to indicate the end of the pause.
4. Do not use commas to set off essential elements of the sentence, such as clauses beginning with that (relative clauses). That clauses after nouns are always essential. That clauses following a verb expressing mental action are always essential.
5. Use commas to separate three or more words, phrases, or clauses written in a series.
6. Use commas to separate two or more coordinate adjectives that describe the same noun. Be sure never to add an extra comma between the final adjective and the noun itself or to use commas with non-coordinate adjectives.
7. Use a comma near the end of a sentence to separate contrasted coordinate elements or to indicate a distinct pause or shift.
8. Use commas to set off phrases at the end of the sentence that refer back to the beginning or middle of the sentence. Such phrases are free modifiers that can be placed anywhere in the sentence without causing confusion.
9. Use commas to set off all geographical names, items in dates (except the month and day), addresses (except the street number and name), and titles in names.
10. Use a comma to shift between the main discourse and a quotation.
11. Use commas wherever necessary to prevent possible confusion or misreading.
Contributors:Dana Driscoll, Allen Brizee. Summary:
This resource offers a number of pages about comma use.
Click here for FULL ARTICLE The most dramatic feature of her “new” novel, “Go Set a Watchman” — written before “To Kill a Mockingbird” but published 55 years afterward — is the revelation that Atticus, the supposed paragon of probity, courage and wisdom, was a white supremacist. In the mid-1930s, when the events of “To Kill a Mockingbird” transpire, white dominance was so completely established that Finch could blithely disregard any political dissatisfactions blacks felt and still get credit from his adoring daughter — and from millions of readers — for defending an innocent man. ------------ But the conversation doesn’t end with Monroe Freedman’s complaint about Atticus Finch’s limitations or with Jean Louise’s disillusionment with her previously idolized father. After Lee sold the manuscript we’re now reading, she worked hard on revisions. At her editor’s urging, she shifted the novel’s time frame from the 1950s to the Depression, away from the messy adult problems of a young woman coming to understand the racism of her father, and back to childhood, where seen through Scout’s eyes, Atticus Finch could become the hero that millions of readers love. The editor’s shrewd suggestion belonged to a specific time and place, too. In America in 1960, the story of a decent white Southerner who defends an innocent black man charged with raping a white woman had the appeal of a fairy tale and the makings of a popular movie. Perhaps even more promising, though, was the novel Lee first envisioned, the story of Jean Louise’s adult conflicts between love and fairness, decency and loyalty. Fully realized, that novel might have become a modern masterpiece.
Click on the video below to watch a lesson on modifiers. These are important to understand for passing the GED and improving your reading and writing skills. Beneath the video is a Wikipedia article on modifiers. After watching the video, you may get more out of the article.
From Wikipedia
In grammar, a modifier is an optional element in phrase structure or clause structure.[1] A modifier is so called because it is said to modify (change the meaning of) another element in the structure, on which it is dependent. Typically the modifier can be removed without affecting the grammar of the sentence. For example, in the English sentence This is a red ball, the adjectivered is a modifier, modifying the nounball. Removal of the modifier would leave This is a ball, which is grammatically correct and equivalent in structure to the original sentence.
Other terms used with a similar meaning are qualifier (the word qualify may be used in the same way as modify in this context), attribute, and adjunct. These concepts are often distinguished from complements and arguments, which may also be considered dependent on another element, but are considered an indispensable part of the structure. For example, in His face became red, the word red might be called a complement or argument of became, rather than a modifier or adjunct, since it cannot be omitted from the sentence.
Modifiers may come either before or after the modified element (the head), depending on the type of modifier and the rules of syntax for the language in question. A modifier placed before the head is called apremodifier; one placed after the head is called a postmodifier.
The two principal types of modifiers are adjectives (and adjectival phrases and adjectival clauses), which modify nouns; and adverbs (and adverbial phrases and adverbial clauses), which modify other parts of speech, particularly verbs, adjectives and other adverbs, as well as whole phrases or clauses. (Not all adjectives and adverbs are necessarily modifiers, however; an adjective will normally be considered a modifier when usedattributively, but not when used predicatively – compare the examples with the adjective red at the start of this article.)
Another type of modifier in some languages, including English, is the noun adjunct, which is a noun modifying another noun (or occasionally another part of speech). An example is land in the phrase land mines given above.
Examples of the above types of modifiers, in English, are given below.
It was [a nice house]. (adjective modifying a noun, in a noun phrase)
[The swiftly flowing waters] carried it away. (adjectival phrase, in this case a participial phrase, modifying a noun in a noun phrase)
She's [the woman with the hat]. (adjectival phrase, in this case a prepositional phrase, modifying a noun in a noun phrase)
I saw [the man whom we met yesterday]. (adjectival clause, in this case a relative clause, modifying a noun in a noun phrase)
His desk was in [the faculty office]. (noun adjunct modifying a noun in a noun phrase)
[Put it gently in the drawer]. (adverb in verb phrase)
He was [very gentle]. (adverb in adjective phrase)
She set it down [very gently]. (adverb in adverb phrase)
[Even more] people were there. (adverb modifying a determiner)
It ran [right up the tree]. (adverb modifying a prepositional phrase)
[Only the dog] was saved. (adverb modifying a noun phrase)
In some cases, noun phrases or quantifiers can act as modifiers:
[A few more] workers are needed. (quantifier modifying a determiner)
She's [two inches taller than her sister]. (noun phrase modifying an adjective)
In the video below, I give a short lesson on developing strong reading comprehension skills in preparation for the GED and other high school equivalency exams. Click on the arrow to get started. Following that is a Wikipedia article defining reading comprehension.
From Wikipedia
Reading comprehension is defined as the level of understanding of a text/message. This understanding comes from the interaction between the words that are written and how they trigger knowledge outside the text/message.[1][2] Comprehension is a "creative, multifaceted process" dependent upon four language skills: phonology, syntax, semantics, and pragmatics.[3] Proficient reading depends on the ability to recognize words quickly and effortlessly.[4] It is also determined by an individual's cognitive development, which is "the construction of thought processes". Some people learn through education or instruction and others through direct experiences.[5]
There are specific traits that determine how successfully an individual will comprehend text, including prior knowledge about the subject, well developed language, and the ability to make inferences. Having the skill to monitor comprehension is a factor: "Why is this important?" and "Do I need to read the entire text?" are examples. Lastly, is the ability to be self-correcting to solve comprehension problems as they arise.[6]
Reading comprehension involves two levels of processing, shallow (low-level) processing and deep (high-level) processing. Deep processing involves semantic processing, which happens when we encode the meaning of a word and relate it to similar words. Shallow processing involves structural and phonemic recognition, the processing of sentence and word structure and their associated sounds. This theory was first identified by Fergus I. M. Craik and Robert S. Lockhart.[7]
Comprehension levels can now be observed through the use of a fMRI, functional magnetic resonance imaging. fMRIs' are used to determine the specific neural pathways of activation across two conditions, narrative-level comprehension and sentence-level comprehension. Images showed that there was less brain region activation during sentence-level comprehension, suggesting a shared reliance with comprehension pathways. The scans also showed an enhanced temporal activation during narrative levels tests indicating this approach activates situation and spatial processing.[8][edit]
An independent clause (or main clause) is a clause that can stand by itself as a simple sentence. An independent clause contains a subject and a predicate; it makes sense by itself and therefore expresses a complete thought.
Independent clauses can be joined by using a semicolon or by using a comma followed by a coordinating conjunction (for, and, nor, but, or, yet, so, however, etc...).
I am a doctor, and my wife is a lawyer. (This is a compound sentence made up of two independent clauses: I am a doctor and my wife is a lawyer.)
I want to be a nurse, but I need to receive my science degree. (compound sentence made up of two independent clauses: I want to be a nurse and I need to receive my science degree)
John walked to the park with his friend, Jim. (This is another simple sentence.)
A sentence is a linguistic unit consisting of one or more words that are grammatically linked. A sentence can include words grouped meaningfully to express a statement, question, exclamation, request, command or suggestion.[1] A sentence is a set of words that in principle tells a complete thought (although it may make little sense taken in isolation out of context); thus it may be a simple phrase, but it conveys enough meaning to imply a clause, even if it is not explicit. For example, "Two" as a sentence (in answer to the question "How many were there?") implies the clause "There were two". Typically a sentence contains a subject and predicate. A sentence can also be defined purely in orthographic terms, as a group of words starting with a capital letter and ending in a full stop.[2] (However, this definition is useless for unwritten languages, or languages written in a system that does not employ both devices, or precise analogues thereof.) For instance, the opening of Charles Dickens's novel Bleak House begins with the following three sentences:
London. Michaelmas term lately over, and the Lord Chancellor sitting in Lincoln's Inn Hall. Implacable November weather.
The first sentence involves one word, a proper noun. The second sentence has only a non-finite verb (although using the definition given above, e.g. "Chancellor sitting in Lincoln's Inn Hall." would be a sentence by itself). The third is a single nominal group. Only an orthographic definition encompasses this variation.
In the teaching of writing skills (composition skills), students are generally required to express (rather than imply) the elements of a sentence, leading to the schoolbook definition of a sentence as one that must [explicitly] include a subject and a verb. For example, in second-language acquisition, teachers often reject one-word answers that only imply a clause, commanding the student to "give me a complete sentence", by which they mean an explicit one.
As with all language expressions, sentences might contain function and content words and contain properties such as characteristic intonation and timing patterns.
A compound sentence consists of multiple independent clauses with no dependent clauses. These clauses are joined together using conjunctions, punctuation, or both.
A complex sentence consists of one independent clause and at least one dependent clause.
A compound–complex sentence (or complex–compound sentence) consists of multiple independent clauses, at least one of which has at least one dependent clause.
Sentences can also be classified based on their purpose:
A declarative sentence or declaration, the most common type, commonly makes a statement: "I have to go to work."
An interrogative sentence or question is commonly used to request information—"Do I have to go to work?"—but sometimes not; see rhetorical question.
An exclamatory sentence or exclamation is generally a more emphatic form of statement expressing emotion: "I have to go to work!"
An imperative sentence or command tells someone to do something (and if done strongly may be considered both imperative and exclamatory): "Go to work." or "Go to work!"
Its vanished trees, the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.
—F. Scott Fitzgerald, The Great Gatsby
I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.
—James Joyce, A Portrait of the Artist as a Young Man
This private estate was far enough away from the explosion so that its bamboos, pines, laurel, and maples were still alive, and the green place invited refugees—partly because they believed that if the Americans came back, they would bomb only buildings; partly because the foliage seemed a center of coolness and life, and the estate’s exquisitely precise rock gardens, with their quiet pools and arching bridges, were very Japanese, normal, secure; and also partly (according to some who were there) because of an irresistible, atavistic urge to hide under leaves.
—John Hersey, Hiroshima
It was a fine cry—loud and long—but it had no bottom and it had no top, just circles and circles of sorrow.
—Toni Morrison, Sula
For what do we live, but to make sport for our neighbors, and laugh at them in our turn?
—Jane Austen, Pride and Prejudice
It was the United States of America in the cold late spring of 1967, and the market was steady and the G.N.P. high and a great many articulate people seemed to have a sense of high social purpose and it might have been a spring of brave hopes and national promise, but it was not, and more and more people had the uneasy apprehension that it was not.
—Joan Didion, Slouching Towards Bethlehem
Anger was washed away in the river along with any obligation.
—Ernest Hemingway, A Farewell to Arms
There are many pleasant fictions of the law in constant operation, but there is not one so pleasant or practically humorous as that which supposes every man to be of equal value in its impartial eye, and the benefits of all laws to be equally attainable by all men, without the smallest reference to the furniture of their pockets.
—Charles Dickens, Nicholas Nickleby
In many ways he was like America itself, big and strong, full of good intentions, a roll of fat jiggling at his belly, slow of foot but always plodding along, always there when you needed him, a believer in the virtues of simplicity and directness and hard labor.
—Tim O’Brien, The Things They Carried
There is nothing more atrociously cruel than an adored child.
—Vladimir Nabokov, Lolita
And a bonus:
Like the waters of the river, like the motorists on the highway, and like the yellow trains streaking down the Santa Fe tracks, drama, in the shape of exceptional happenings, had never stopped there.
