Idiom of the day

buy that

believe that, eat that 
He says he went to see his friends at the park. I
can buy that.

Alliteration

Alliteration

Is the repetition of a speech sound in a sequence of nearby
words. The term is usually applied only to consonants, and only when the recurrent
sound begins a word or a stressed syllable within a word. In Old English
alliterative meter, alliteration is the principal organizing device of the
verse line: the verse is unrhymed; each line is divided into two half-lines of
two strong stresses by a decisive pause, or caesura; and at least one, and usually
both, of the two stressed syllables in the first half-line alliterate with the
first stressed syllable of the second half-line. (In this type of versification a
vowel was considered to alliterate with any other vowel.) A number of Middle
English poems, such as William Langland's Piers Plowman and the romance Sir
Gawain and the Green Knight, both written in the fourteenth century, continued
to use and play variations upon the old alliterative meter. (See strong-stress
meters.) In the opening line of Piers Plowman, for example, all four of the
stressed syllables alliterate: is the repetition of a speech sound in a sequence of nearby
words. The term is usually applied only to consonants, and only when the recurrent
sound begins a word or a stressed syllable within a word. In Old English
alliterative meter, alliteration is the principal organizing device of the
verse line: the verse is unrhymed; each line is divided into two half-lines of
two strong stresses by a decisive pause, or caesura; and at least one, and usually
both, of the two stressed syllables in the first half-line alliterate with the
first stressed syllable of the second half-line. (In this type of versification a
vowel was considered to alliterate with any other vowel.) A number of Middle
English poems, such as William Langland's Piers Plowman and the romance Sir
Gawain and the Green Knight, both written in the fourteenth century, continued
to use and play variations upon the old alliterative meter. (See strong-stress
meters.) In the opening line of Piers Plowman, for example, all four of the
stressed syllables alliterate:

Allegory

Allegory

An allegory is a narrative, whether in prose or verse, in which the
agents and actions, and sometimes the setting as well, are contrived by the
author to make coherent sense on the "literal," or primary, level of signification,
and at the same time to signify a second, correlated order of signification

Alexandrianism

Alexandrianism

The works and styles of the Alexandrian school of
Greek poets in the age (323 BCE-31 BCE), which included
Callimachus, Apollonius Rhodius, and Theocritus. The Alexandrian style
was marked by elaborate artificiality, obscure mythological
and eroticism. It influenced Catullus and other Roman poets.

Aesthetics

Aesthetics
philosophical investigation into the nature of
beauty and the perception of beauty, especially in the arts; the theory of
art or of artistic taste. Adjective: aesthetic or esthetic.

Use of is, am, are

            Use "is" when the subject is a singular noun or a third person singular pronoun. Use "are" when the subject is a plural noun or a plural pronoun (e.g. we, you, they). Use "am" when the subject is the first person pronoun I. 

Example:

1. He is my friend.
2. He is not my friend.
3. Is he my friend?
4. He is a good player.
5. He is not a good player.
6. Is he a good player?
7. We are students.
8. We are not students 
9. Are we students?
10. England is our country.
11. Pakistan is an Islamic country
12. The moon is beautiful.
13. The sky is clear.
14. My book is not beautiful.
15. They are children.
16. We are naughty children.
17. I am a good boy.
18. I am live in England.
19. I am not going to school.

Idiom of the day

buy a round
buy a drink for everyone at the table, 
this one is on me
When Gina was born, I bought a round for the
team. Every player had a drink to honor our
baby.

buy into
believe and support, agree to
support, come onside
He will buy into our plan if the money goes to
needy children.

buy out buy a business and all the
inventory
We knew his business was in debt, so we
offered to buy him out.

Affective Fallacy

Affective Fallacy.

Is a term from literary criticism used to refer to the supposed error of judging or evaluating a text on the basis of its emotional effects on a reader. ... Wimsatt and Monroe Beardsley as a principle of New Criticism which is often paired with their study of the The Intentional Fallacy.

In an essay published in 1946, W. K. Wimsatt and Monroe C. Beardsley defined the affective fallacy as the error of evaluating a poem by its effects—especially its emotional effects—upon the reader. As a result of this fallacy "the poem itself, as an object of specifically critical judgment,tends to disappear," so that criticism "ends in impressionism and relativism." The two critics wrote in direct reaction to the view of I. A. Richards, in his influential Principles of Literary Criticism (1923), that the value of a poem can be measured by the psychological responses it incites in its readers. Beardsley has since modified the earlier claim by the admission that "it does not appear that

critical evaluation can be done at all except in relation to certain types of effect that aesthetic objects have upon their perceivers." So modified, the doctrine becomes a claim for objective criticism, in which the critic, instead of describing the effects of a work, focuses on the features, devices, and form ofthe work by which such effects are achieved. An extreme reaction against the doctrine of the affective fallacy was manifested during the 1970s in the development f reader-response criticism.

Use of has, have, had

The words 'has' and 'have' are used as a main verb and auxiliary verb in the present tense. In either case, has is used for the third person singular: he, she, it. As for have, it's used for the third person plural and the first and second persons, singular and plural.

We use the verb had and the past participle for the past perfect: I had finished the work. The past perfect is used in the same way as the present perfect, but it refers to a time in the past, not the present

Examples:

I have a pen.
He has two books.
They have four copies.
Have we a car?
Zeus has one horse.
Millan has four horses.
Azmat has not a beautiful book.
Imran has two bats.
He has a motorcycle.
Have they time to go with us?
I have a pen to give you.
He had two books to give me.

Idiom of the Day

button hole you
stop you and talk to you, corner
you and bore you
At the meeting, A buttonholed me and asked
me to vote Reform.

Difference between Can, May

The difference between
Can and May

Many English speakers are confused about the usage of the words ‘can’ and ‘may’. For e.g., ‘Can' I drink water?’ is incorrect. ‘May I drink water?’ is the correct phrase to use in this case.
The key difference between ‘can’ and ‘may’ is that ‘can’ talks about ability and ‘may’ talks about permission.

CAN
Can is used in two cases:
To talk about ability.
I can finish my homework by 5 pm.
Can you finish your homework tonight?
To ask or give permission informally.
Can I use your pen? (To a friend)
You can use my pen. (To a friend)

MAY
May is generally used to ask or give permission formally.
Let us take a situation between a student and a teacher.
May I drink water?
Teacher: Yes, you may.
Let us take a situation between two strangers.
May I borrow your pen?
Yes, you may.

Spoonerism

Spoonerism

Spoonerism refers to the practice of interchanging the first letters of some words in order to create new words or even to create nonsensical words in order to create a humorous setting. While they are often unintentional and known as a “slip of the tongue”, in literature they are welcomed as witty word-play.
Example:
The phrase “flesh and blood” being spoken as a character as “blesh and flood” in urgency and heightened emotion.

Apostrophe

Apostrophe

The apostrophe is used in three ways:
· to mark the omission or elision of letters and
sounds as in don't (do not)
· to indicate a plural form, especially in abbreviations as in NQT's
· to mark possession in nouns, as in the boy's hat; the teachers' notebooks.
Use of punctuation changes along with other aspects of language. The use of an apostrophe to indicate a plural in the second example above is still `correct' but becoming less universal.
E-mail has led to a modification in the use of punctuation.

You can't take it with you

Means:  
Enjoy what you have and not what you don't have, since when you die you cannot take things (such as money) with you.

Oxymoron

Oxymoron

Definition:

Oxymoron is a significant literary device as it allows the author to use contradictory, contrasting concepts placed together in a manner that actually ends up making sense in a strange, and slightly complex manner. An oxymoron is an interesting literary device because it helps to perceive a deeper level of truth and explore different layers of semantics while writing.

Example:

Sometimes we cherish things of little value.He possessed a cold fire in his eyes.

Anthology

Anthology

An anthology is a collection of poems, songs,
short stories or prose extracts, often by different authors and published in one volume. Collections
of poetry and short stories are a most important resource in the Primary English lesson. Some
poetry anthologies are tried and tested over time and still enjoyed.

Anaphoric

Anaphoric

We use `anaphoric reference' when we look back to an earlier word or words in a sentence to discover the meaning of a word or phrase. So in
the sentence ­ `Although the children were tired after the morning's work they could still enjoy the afternoon story' ­ the second part of the
sentence makes sense in the light of the first.

Use of there

To master the differences between "there" and their, keep in mind some few simple rules for there and their: There is a noun, an adverb, a pronoun, or an adjective, but it does not show possession. Only the word their (not there) shows possession. Their is almost always followed by a noun.

Examples:

There are many players in the ground.

There are many flowers in the garden.
There are two cars on the road.
There is a little milk in the jug.
There are birda in the tree.
There arw one hundred apples on the apple tree.
There are ten students in the class room.
There are ten books in the room.
There is cat under the table.
There are two horses behind the wall.
There were formers in the fields.
There were many trees near my house.
There is a play groud near our collage.
There are many toys in the shop.
There are two rooms and one drawing room in my house.

Aestheticism

Aestheticism, or the Aesthetic Movement,
was a European phenomenon
during the latter nineteenth century that had its chief headquarters in France.
In opposition to the dominance of scientific thinking, and in defiance of the
widespread indifference or hostility of the middle-class society of their time to any art that was not useful or did not teach moral values, French writers developed the view that a work of art is the supreme value among human products precisely because it is self-sufficient and has no use or moral aim outside
its own being. The end of a work of art is simply to exist in its formal
perfection; that is, to be beautiful and to be contemplated as an end in itself.
A rallying cry of Aestheticism became the phrase "l'art pour l'art"--art for
art's sake.
The historical roots of Aestheticism are in the views proposed by the German philosopher Immanuel Kant in his Critique of Judgment (1790) that the "pure" aesthetic experience consists of a "disinterested" contemplation of an object that "pleases for its own sake," without reference to reality or to the "external" ends of utility or morality. As a self-conscious movement, however, French Aestheticism is often said to date from Théophile Gautier's witty defense of his assertion that art is useless (preface to Mademoiselle de Maupin,1835). Aestheticism was developed by Baudelaire, who was greatly influenced
by Edgar Allan Poe's claim (in "The Poetic Principle," 1850) that the supreme work is a "poem per se," a "poem written solely for the poem's sake"; it was later taken up by Flaubert, Mallarmé, and many other writers. In its extreme form, the aesthetic doctrine of art for art's sake veered into the moral and
quasi-religious doctrine of life for art's sake, with the artist represented as a priest who renounces the practical concerns of ordinary existence in the service of what Flaubert and others called "the religion of beauty."
The views of French Aestheticism were introduced into Victorian England by Walter Pater, with his emphasis on high artifice and stylistic subtlety,
his recommendation to crowd one's life with exquisite sensations, and his advocacy of the supreme value of beauty and of "the love of art for its own sake." (See his Conclusion to The Renaissance, 1873.) The artistic and moral
views of Aestheticism were also expressed by Algernon Charles Swinburne
and by English writers of the 1890s such as Oscar Wilde, Arthur Symons, and
Lionel Johnson, as well as by the artists J. M. Whistler and Aubrey Beardsley. The influence of ideas stressed in Aestheticism--especially the view of the
"autonomy" (self-sufficiency) of a work of art, the emphasis on craft and artistry, and the concept of a poem or novel as an end in itself and as invested with "intrinsic" values--has been important in the writings of prominent twentieth-century authors such as W. B. Yeats, T. E. Hulme, and T. S. Eliot, as
well as in the literary theory of the New Crìtics.For related developments, see decadence and ivory tower. Refer to: William
Gaunt, The Aesthetic Adventure (1945, reprinted 1975); Frank Kermode, Ro-
mantic Image (1957); Enid Starkie, From Gautier to Eliot (I960); R. V. Johnson,
Aestheticism (1969). For the intellectual and social conditions during the eighteenth century that fostered the theory that a work of art is an end in itself.

Literary term

Soliloquy

A curious but charming dramatic convention in a play, alone on the stage speaks his or her thoughts aloud as if he is thinking about motives, feelings and decisions. In Othello, Iago has soliloquized his motives and so has Smirnov in the Bear.

Idiom of the day

button your lip

do not tell anyone,

your lip about the speeding ticket. Don't

tell Dad

A word fromThesaurus

abandon v. 1 give up or over, yield, surrender, leave, cede, let go,
deliver (up), turn over, relinquish: 
I can see no reason why we should abandon the house to thieves and vandals.
2 depart from,
leave, desert, quit, go away from: 
The order was given to abandon ship.
3 desert, forsake, jilt, walk out on: 
He even abandoned his fianc. 4 give up, renounce; discontinue, forgo,
drop, desist, abstain from: 
She abandoned cigarettes and whisky after the doctor's warning.
n. 5 recklessness, intemperance, wantonness, lack of
restraint, unrestraint: 
He behaved with wild abandon after he received the inheritance.

Affix and Anecdotes

Affix

An affix is a morpheme attached to a word which
may be a prefix (disappear, uninspiring) or a
suffix (reading, likeness).

Anecdotes

These are short accounts usually of an event or
something that happened to the teller or writer or
someone known to them. From the earliest stage
young children enjoy telling others about significant
events: what they did yesterday; what
happened when their pet or favourite toy was
lost; what the squirrels were doing in the park last
Saturday. Often what they relate is chronologically
ordered and this helps them develop a sense
of the narrative form (Mallett, 1997). Reading
and listening to literature is a strong context for
the sharing of pertinent anecdotes. We value all
the connections children make in their talk and
writing between what they read and events and
situations in their lives. The teacher’s skill lies in
his or her constructive and imaginative response
to children’s anecdotes. A number of children in
a Year 6 class were responding to the teacher’s
reading of Anthony Browne’s picture book The
Tunnel (Puffin, 1989) by sharing anecdotes about
sibling relationships. The teacher focused the
discussion by asking the children how their experiences
were similar to and different from those
of the children in the book. This nudged the
anecdotes into a higher gear and, as often
happens, the anecdotes were developed into a
satisfying written piece.
When children write journals or diaries in or
out of school they draw on anecdotes. These
‘vignettes’ from real life are more interesting
when writers include their own attitudes, opinions
and response. Here we can hardly have a
better model than the writing in Anne Frank’s
Diary (Puffin, 1997).

Idiom of the day

butter wouldn't melt in his
mouth
he is very calm and clear, he
has an air of innocence, cool,
smooth talker

When he's talking to voters, butter wouldn't melt
in his mouth.

Words Similar to Angry

Angry

aggravated
annoyed
defiant
disgusted
enraged
exasperated
frustrated
furious
hateful
hostile
indignant
infuriated
mad
obstinate
outraged
perturbed
peeved
pissed off
rebellious
seething
spiteful
surly
upset
vengeful

Do you know about??

Abbreviation

This is the shortened or contracted form of a
word or phrase. Frequently used abbreviations or
contractions include don’t (do not), can’t (can
not) and haven’t (have not). Children need
careful teaching about the difference between
possessive apostrophes and those used to indicate
contraction. Sometimes the abbreviation
becomes a word in its own right, for example
pub, plane or fridge, and in these cases the apostrophe
has been dropped. Other abbreviations
are acronyms like SAT (standard assessment test)
and NATE (the National Association for the
Teaching of English). Useful abbreviations of
Latin terms include: e.g. for example (exempli
gratia); i.e. that is (id est); etc. and so on (et
cetera); N.B. note especially (nota bene).

Acrostic

This describes a poem or puzzle where the first
letter of each line, read sequentially down the
page, spells out a word or phrase. In a double
acrostic, the first and last letters of each line spell
out a word or phrase.

Idiom of the Day

butter up 

be nice to, suck up to 

Butter him up before you ask to borrow his car.

Academic drama

Academic drama 

A dramatic institution of the late 15th and early 16th c. in
England, in which plays written by schoolmasters or other scholars were
performed by students at schools, universities or Inns of Court. Translations
of Roman playwrights such as Terence and Plautus were popular and,
along with original dramatic compositions in Latin, were performed as part
of the curriculum. Following a pedagogical ideal influenced by European
humanism, imitations of these classical models also appeared in English
from the mid 16th c., with the comedy Ralph Roister Doister (c. 1552) by the
Westminster schoolmaster Nicholas Udall surviving as an early example.
Relatively neglected in comparison to the public theatres of the age, academic
drama also constituted an important link between crown and academe, with
Elizabeth both receiving plays at court and commissioning their performance
as royal entertainment during state visits to the universities. See also school
drama.

What is Acronym?

Acronym

An acronym is made up of the initial letters of a
related sequence of words and pronounced as one
word. Examples include NATE (National Association
for the Teaching of English) and UKLA
(United Kingdom Literacy Association).

Some Importent Idioms

cabin fever

feeling depressed because you

have to stay inside.

After three weeks of cold weather we all had

cabin fever.

cackleberries

eggs, chicken eggs Look! 

This hen laid five cackleberries!

call a spade a spade 

say it in plain language; the

straight goods.

Kris will report the facts. She's not afraid to call

a spade a spade.

call attention 

to ask you to read or notice, draw

attention to.

I would like to call attention to the student

parking problem