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The garden-path sentence effect occurs when the sentence has a phrase or word with an ambiguous meaning that the reader interprets in a certain way and, when they read the whole sentence, there is a difference in what has been read and what was expected. The reader must then read and evaluate the sentence again to understand its meaning.
Language of flowers – cryptological communication through the use or arrangement of flowers; Hanakotoba, also known as 花言葉 – Japanese form of the language of flowers; List of national flowers – flowers that represent specific geographic areas
Hearts starve as well as bodies: Give us Bread, but give us Roses. As we come marching, marching, unnumbered women dead Go crying through our singing their ancient song of Bread; Small art and love and beauty their trudging spirits knew— Yes, it is Bread we fight for—but we fight for Roses, too.
The bee landed on the flower because it had nectar: The pronoun "it" refers to the "flower" but changes to the "bee" if we replace "had" with "wanted". We bought the boys apples because they were so hungry: "they" refers to the boys, but if "hungry" is replaced with "cheap", with no grammatical change, it refers to the apples. [28]
Anyway, check out the full lyrics to “Flowers” (via Genius) below in case you want to scream-sing along in the shower, etc., etc. We were good, we were gold Kind of dream that can’t be sold
In the popular game of "Mad Libs", a chosen player asks each other player to provide parts of speech without providing any contextual information (e.g., "Give me a proper noun", or "Give me an adjective"), and these words are inserted into pre-composed sentences with a correct grammatical structure, but in which certain words have been omitted ...
The World Is Too Much With Us" is one of those works. It reflects his view that humanity must get in touch with people to progress spiritually. [1] The rhyme scheme of the poem is ABBA ABBA CDCD CD. This Italian or Petrarchan sonnet uses the last six lines to answer the first eight lines (octave). The octave is the problems and the sestet is ...
Illustration from Floral Poetry and the Language of Flowers (1877). According to Jayne Alcock, grounds and gardens supervisor at the Walled Gardens of Cannington, the renewed Victorian era interest in the language of flowers finds its roots in Ottoman Turkey, specifically the court in Constantinople [1] and an obsession it held with tulips during the first half of the 18th century.