How to Identify the Subject in French

The subject  is the  noun or pronoun in a clause or sentence that performs the action of the verb. To find the subject, ask who or what is performing the action of  the verb. It is crucial to recognize the subject because  French verbs are  conjugated according to the number, person and gender of the subject noun or the subject pronoun. David lave la voiture.  / David is washing the car. Who is washing the car? David is, so David is the subject. Subject Pronouns Subject pronouns replace the specific names of people or things: SINGULAR   Ã‚  1st person  Ã‚  Ã‚  je  Ã‚  I  Ã‚  Ã‚  2nd person  Ã‚  tu   you  Ã‚  Ã‚  3rd person  Ã‚  Ã‚  il   he, it / elle   she, it /  on   one PLURAL   Ã‚  1st person  Ã‚  Ã‚  nous  Ã‚  we  Ã‚  Ã‚  2nd person  Ã‚  vous   you  Ã‚  Ã‚  3rd person  Ã‚  Ã‚  ils   they (m) /  elles   they (f) The French subject pronoun  on is an indefinite pronoun that means one, we, you and they. Its often equivalent to the English  passive voice.   Ã‚  On ne devrait pas poser cette question.One shouldnt ask that question. / You shouldnt ask that quesiton. Note that, unlike the English I, the French  je  is only capitalized when it begins a sentence; otherwise it is lowercase. Subjects in Sentences Whether sentences be statements, exclamations, questions, or commands, there is always a subject, either  stated or implied. Only in a command is the subject not explicitly stated; it is implied by the imperative conjugation of the verb. Sentences can be separated into a subject (un sujet)  and a predicate (un prà ©dicat). The subject is the person or thing performing the action, and the predicate is the rest of the sentence, which usually begins with the verb.Je suis professeur.  Suject:  Je. Prà ©dicat:  suis professeur. I am a teacherSubject: I. Predicate: am a professor. La jeune fille est mignonne  Sujet:  La jeune fille.  Prà ©dicat:  est mignonne.   The young girl is cute.Subject: The young girl. Predicate: is cute.

The Problem Of Social Media Essay - 1068 Words

Fascination of social media is soaring up in a phenomenal growth. Young generations especially teenage are becoming crazy for the buzz media even so middle-aged alongside near and above sixty-aged people are also athirst for this in our country. This scenario is taken a gander not only in Bangladesh but also in all over the world. According to the worldwide ranking of popularity, social networking sites are Facebook, twitter, Google+, LinkedIn, YouTube, My Space, Whatsapp and so forth respectively. Needless to say that Facebook is the most-ever trendy social network in Bangladesh. Online revealed statistics of ‘Internet Live Stats’, cited by World Wide Web Consortium (W3C) and World Wide Web Foundation as of July 1, 2016, there are 21,439,070 Internet users in Bangladesh which is 13.2 % (penetration) share of Bangladeshi population and 0.6 % share of World Internet Users. Whereas indicated by Bangladesh Telecommunication Regulatory Commission (BTRC) an overwhelming 80 percent internet users of Bangladesh are on social networking website i.e. Facebook. Accordingly a report published by the national Bengali daily citing Socialbakers, a social media analytic, the ratio of age group of Facebook users in Bangladesh are 73% of 13-25 age, 20% of 26-34 age, 5% of 35-45 age 2% above of 45 age. So the figures no doubt portrays that youths are front-liner of bring into play the Facebook in the country. The statement of the BTRC further depicted that the social media platformShow MoreRelatedThe Problem Of Social Media928 Words   |  4 Pageskeep us connected to a never ending supply of distant connection. Social media is the source of many problems in our society. One of the problems is the lack of communication in a relationship. 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Merits and Demerits of Shakespeare Free Essays

Merits and Demerits of Shakespeare In Preface to Shakespeare, Johnson has shown the merits and demerits of Shakespeare based on the plays he has edited. Here he gives the readers some sound ideas about the virtues and faults of Shakespeare. That Shakespeare’s characters have am interaction with nature and that his works have a universal appeal are the major assertions of Johnson in favour of Shakespeare’s merits and what he says about the demerit of Shakespeare is that Shakespeare tries more to please his audience than to instruct them which is a serious fault because it is always a writer’s duty to make the world morally better. We will write a custom essay sample on Merits and Demerits of Shakespeare or any similar topic only for you Order Now However, what Johnson has seen as the merits and demerits of Shakespeare are given below: Merits of Shakespeare: At first Johnson explicates Shakespeare’s virtues after explaining what merit can be determined by the Shakespeare’s enduring popularity. He proceeds thence to elevate Shakespeare as the poet of nature. â€Å"Nothing can please many, and please long, but just representations of general nature† (7). He says, â€Å"Shakespeare is above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life†. 8). Again he says that Shakespeare’s characters â€Å"are the genuine progeny of common humanity † In the writings of other writers , a character is too often an individual but a character of Shakespeare has a universal appeal, and his characters are the representatives of the common people. Moreover Shakespeare is a prophet figure and from his writings we find the ideas of worldly wisdom and the principles which are of value in society and at home. He says, â€Å"from his works may be collected a system of civil and economical prudence. (9) Again he says that by writings Shakespeare brings out the whole sphere of life. Moreover his heroes are like common human beings. And the qualities that are found in Shakespearean heroes can be found in every human being. As he says , â€Å"Shakespeare has no heroes; his scenes are occupied only by men, who act and speak as the reader thinks that he should himself have spoken or acted on the same occasion† (13) In his characterization and dialogue, Shakespeare â€Å"overlooks the casual distinction of country and condition,† striking at the center of humanity (15). The nature captured by Shakespeare’s characters is exhibited in the â€Å"ease and simplicity† of their dialogues (10) Indeed, Johnson points out, the distinctions of character stressed by such critics as Voltaire and Rymer impose only artificial burdens on the natural genius of Shakespeare. He lays an enormous stress on Shakespeare’s adherence to general nature. He states: â€Å"Shakespeare always makes nature predominate over accident; and if he preserves the essential character, is not very careful of distinctions superinduced and adventitious. His story requires Romans or kings, but he thinks only on men. â€Å"(15) Johnson goes further in his defense of the Bard’s merit, extending his argument from the characters within his plays to the genre of the plays themselves. In the strictest, classical sense of the terms, Johnson admits, Shakespeare’s works cannot be fairly called comedies or tragedies. For this too, his plays earned harsh criticism from Johnson’s contemporaries. Johnson, though, sees in the mixture of sorrow and joy a style which â€Å"approaches nearer than either to the appearance of life† (20). Demerits of Shakespeare: His praise for Shakespeare, which centers on the Bard’s sublunary approach to character, dialogue, and plot, does not blind him to the poet of nature’s weaknesses. Johnson airs Shakespeare’s imperfections without hesitance. In doing so, though, he does not weaken his arguments; he simply establishes his credentials as a critic. As Edward Tomarken points out, â€Å"for Johnson, criticism requires, not intrusive sententiae, but evaluative interpretations, decisions about how literature applies to the human dilemma† (Tomarken 2). Johnson is not hesitant to admit Shakespeare’s faults: his earlier praise serves to keep those flaws in perspective. Even without that perspective, however, Johnson’s censure of Shakespeare is not particularly harsh. For the most part, Johnson highlights surface- level defects in the Bard’s works: his â€Å"loosely formed† plots, his â€Å"commonly gross† jests, and- most ironically-his â€Å"disproportionate pomp of diction and a wearisome train of circumlocution† (Johnson 34, 35). The most egregious fault Johnson finds in Shakespeare, though, is thematic. Unsurprisingly, Johnson exhibits emphatic distaste for Shakespeare’s lack of moral purpose. Johnson argues that he † He sacrifices virtue to convenience, and is so much more careful to please than to instruct, that he seems to write without any moral purpose † (33). In leading â€Å"his persons indifferently through right and wrong† and leaving â€Å"their examples to operate by chance,† Shakespeare has abandoned his duty as an author as the righteous Johnson would have that duty defined (33). This is, in his eyes, Shakespeare’s greatest flaw, though it does not supercede his other merits. Shakespeare’s plots, he says, are often very loosely formed and carelessly pursued. He neglects opportunities of giving instruction or pleasure which the development of the plot provides to him. He says, â€Å"The plots are often so loosely formed, that a very slight consideration may improve them, and so carelessly pursued, that he seems not always fully to comprehend his own design. † (34). Again he says that in many of his plays, the latter part does not receive much of his attention. This charge is certainly true. The play of Julius Caesar clearly shows a decline of dramatic interest in its second half. He says, â€Å"It may be observed, that in many of his plays the latter part is evidently neglected. When he found himself near the end of his work, and, in view of his reward, he shortened the labour, to snatch the profit. â€Å"(35) Next, Johnson considers Shakespeare’s style and expression. According to him there are many passages in the tragedies over which Shakespeare seems to have laboured hard, only to ruin his own performance. The moment Shakespeare strains his faculties, or strains his inventive powers unnecessarily, the result is tediousness and obscurity. However, Johnson adopts purely a neo-classical point of view which emphasizes the didactic purpose of literature as much as its pleasing quality. In this respect we can’t agree with Johnson’s condemnation of Shakespeare. Because all that we can expect from an artist is that he should give us a picture of life as he sees it. How to cite Merits and Demerits of Shakespeare, Papers

Identify the language and literary techniques used by the poet Essay Example For Students

Identify the language and literary techniques used by the poet Essay Identify the language and literary techniques used by the poet (Thomas Hardy in The Voice) and discuss why these techniques have been used. By exercise Thomas Hardy in his poem The Voice deals with the theme of the consequences of grief and loss. He addresses this theme by means of examining his own feelings at his wifes death, his wish to relive the past, his wish to be reunited with her and his feelings of despair and hopelessness at what life has become for him without her. To convey his theme to the reader, Hardy uses a range of language and literary devices such as Juxtaposition, varied line length, sound devices, imagery, connotation, word choice, rhetorical question and repetition. In the first stanza Thomas Hardy Illustrates his great grief at the loss of his wife. He misses her a great deal and senses that she Is calling out to him. He longs for her and longs to be with her. The depth of his grief Is clear from the use of the word much in woman much missed and the repetition of you call to me. A consequence of his grief and loss is that he believes she calls to him and that she has changed back to the girl he first met and married and when they were happy, when our day was fair. Grief clearly has a great impact on individuals. In the second stanza he questions whether he Is literally hearing from her. He answers his own question with the request to see her once again standing by the town in the air blue gown that he clearly remembers so well. In his grief Thomas Hardy wishes to ignore time and see his wife as she was when they first met. Grief causes individuals to hope for miracles, so that loneliness and despair can be overcome. In the third stanza Thomas Hardy accepts reluctantly that he Is not hearing his wifes ice but merely the breeze across the field or mead. Here diction and negative connotations show his acceptance that she is dead. He describes the breeze that he mistook for her voice as listless reflecting his own unmotivated state of mind without her. His acceptance that he will never see her again is summed up in the line, dissolved to wan weightlessness. She is dissolved or dead and her voice merely an echo of his despairing state of mind. The alliteration of Wan helplessness provides a long, slow sound reflecting how difficult it has been for him to get over the death of is wife and to carry on. The whole of the third stanza is in the form of a rhetorical question illustrating his awareness of their permanent separation, but his reluctance to accept it. Clearly grief leads to a sense of despair and hopelessness The final stanza uses shorter lines to show that he knows he has to move on and alliteration of faltering forward. The l sound suggesting s painful movements with the likelihood of falling or stumbling. The setting and mood are bleak and anticipate withering and dying, leaves around me falling. The wind oozing thin through the horn from onward underlines the difficulty and pain of moving onward with nothing to look forward to. Grief had him construct hope in his mind of her calling and him seeing her as she was when they first knew each other and were most in love, but he has had to face up to the bleak reality of life without her and the poem ends on a note of suffering and despair with memories providing no comfort. Grief led to the construction of hope. But this fair thought of turning back the clock was but a fancy and individuals have to face up to reality and the inexorable march of time.