Leaving Cert 2012-13 *OFF-TOPIC* (hideaway) thread

Eurovisionmad

Copper_pipe wrote: »

Maths teacher gave us the Examcraft paper 2 to take home for the weekend. Very manageable compared to the DEB

Ohhh I think we're sitting that paper 1 on Tuesday after school, and then we're sitting paper 2 the Tuesday after! The DEB one we had for the Pres was admittedly extremely hard!

yournerd

Can anyone give the codes for a William Wordsworth answer? From the edco paper? Ah help would be appreciated

Prodigious

Don't have them, but maybe this will help?

Introduction
Seeking the significant moment
Early life
William Wordsworth was born on 7 April 1770 in cockermouth, cumberland in the north-west of england, an area noted for its beautiful scenery. He was the second son born to John Wordsworth and his wife Anne. wordsworth’s family was comfortable both financially and socially. His father was an attorney-at-law and a land steward, while his mother came from a respectable merchant background. Less than two years later, his sister dorothy was born and the two children developed a close relationship that was to continue into adult life. Sadly, this stable childhood world was rocked by the death of his mother when Wordsworth was eight years old, and his father’s death five years later. some critics have suggested that the loss of his parents at such
a young age had a lasting effect on Wordsworth, in
that much of his poetry is underpinned by a sense of searching for an absent quality that will somehow fill a
gap in his life. In one of his earliest poems, composed when he was about sixteen years old, Wordsworth writes:
Now, in this blank of things, a harmony Home-felt, and home-created comes to heal That grief for which the senses still supply Fresh food; for only then, when memory
Is hushed, am I at rest.
two of their uncles became guardians to the five Wordsworth children and ensured that they were brought up in a manner suitable to their social station. Wordsworth attended Hawkshead Grammar School and, at the age of seventeen, entered st John’s college, cambridge.
wordsworth’s career at cambridge was undistinguished, but the long holidays gave him the opportunity to indulge in a favourite pastime, walking in the countryside. The appreciation of Nature and the first-hand experiencing of the natural world became increasingly popular towards the end of the eighteenth century. In the summer of 1790, Wordsworth and a college friend went on a walking holiday through France and Switzerland, ‘staff in hand, without knapsacks, each his neediments tied up in a pocket-handkerchief’. Wordsworth was impressed by the
45
New exploratioNs • william wordsworth • iNtroductioN
majesty of the alps and wrote a series of ‘descriptive Sketches’ detailing the scenery:
The rocks rise naked as a wall, or stretch
Far o’er the water, hung with groves of beech...
In later life, Wordsworth came to view these pieces as representing a time when he was enveloped by the visual aspect of Nature, when he revelled in seeing, with little
or no understanding of the spiritual quality of the natural world. At this stage, his writing was very much in tune with the poetry of the time, where natural beauty was described in detailed word pictures without intellectual consideration.
After receiving his BA, Wordsworth returned to France with the intention of learning French. However, he
was diverted by a growing interest in the revolutionary movement that was sweeping through France, and by his love affair with Annette Vallon, who bore him a daughter. However, under pressure from his friends and relations who were anxious about the political instability in France, Wordsworth returned to England and was not to see his daughter until she was nine years old.
Samuel Taylor Coleridge
On his return from France, Wordsworth rather reluctantly published some of his work. The books were not particularly well received and sold slowly. However, another young writer, samuel taylor coleridge, did read them and was immensely impressed, commenting: ‘Seldom, if ever, was the emergence of an original
poetic genius above the literary horizon more evidently announced.’ The pair met in 1795 and became great friends, travelling and writing together. at coleridge’s suggestion they began to write a series of poems that was to become The Lyrical Ballads, generally recognised as marking the beginning of the romantic movement in English poetry. This collaboration resulted in Wordsworth producing some of his most uniquely individual poetry, such as parts of The Prelude, the ‘Lucy’ poems and ‘Lines written above tintern abbey’. coleridge regularly visited wordsworth and his sister dorothy at Grasmere, in the lake district. although she was a talented writer herself, dorothy devoted most of her energies to caring for her brother until his death in 1850. Even when Wordsworth married mary hutchinson in 1802, dorothy continued
to live with the couple and was very much a part of the literary group that developed around Wordsworth. In 1810 the friendship between coleridge and wordsworth
46
New exploratioNs • william wordsworth • iNtroductioN
ended. during one of his visits to the wordsworths, coleridge’s addiction to opium led him to behave in an extremely difficult manner and wordsworth grew tired of trying to cope with it all. when coleridge discovered that Wordsworth had spoken dismissively of him to a friend, he was deeply hurt and the two men were estranged for quite a while. Finally they did patch up their relationship, but
it was never the same. coleridge wrote, ‘a reconciliation has taken place – but the feeling can never return.’
Wordsworth’s poetic theory
It was a sad end to what had been a wonderfully creative friendship. long discussions with coleridge had led Wordsworth to formulate his theories on poetry, which
he expressed in his famous ‘Prefaces’. He saw poetry as originating ‘from emotion recollected in tranquillity’: that is, sensory memory is used to recreate a moment arising in ‘everyday life’, made significant by ‘powerful feelings’. By revisiting the emotionally significant moment through sensory memory, a further quality is added to the original experience. The moment is uniquely personal to the poet, but because of the way in which he expresses it the moment takes on a more general relevance to all people. For Wordsworth, the poet has ‘a greater readiness and
power in expressing what he thinks and feels’. But he is, above all, ‘a man speaking to men’. For this reason, the poet should use ‘a selection of language really used by men’ in such a way that ‘ordinary things are presented
to the mind in an unusual aspect’. In this way, the poet creates a new moment that has significance not only for himself, but also for his reader. It encapsulates ‘truth,
not individual and local, but general, and operative; not standing upon external testimony, but carried into the heart by passion’. For Wordsworth, Nature played a vital role in this truth, since the poet ‘considers man and nature as essentially adapted to each other, and the mind of man as naturally the mirror of the fairest and most interesting properties of nature.’ Thus, ‘Poetry is the image of man and nature.’ Wordsworth believed that Nature was symbolic of the essential Truths that could give coherence to an apparently disordered world and, because of this,
it triggers significant moments of emotion in the poet. poetry, that expressed these moments of significance, enabled the reader to understand something of the great truths underlying both his or her own existence and the society and world in which he lived. For Wordsworth, this act of poetic creation helped both the poet and the reader to restore something that could be lost, all too easily,
in everyday life: the power to escape from the physical
47
New exploratioNs • william wordsworth • iNtroductioN
limitations of time and place, to grow positively and strongly in the face of an apparently confused universe, to improve the social context of human existence, to experience joyfully the emotionally significant moment.
The later years
Wordsworth, by the poetic theory that he had formulated, came to view the poet, and therefore himself, as an individual set apart. His focus was on his own emotional reactions. In The Prelude, composed between 1799
and 1805, he traced the ‘Growth of a poet’s mind’, that
is, his own mind, with a series of vivid and immediate descriptions. Although Wordsworth himself considered this an acceptable poetic stance, and many of his devoted readers felt that it was an approach justified
by his incisive observations, an equal number of his contemporaries viewed it as indulgently self-centred and egotistical. Indeed, this divergence of opinion regarding Wordsworth still exists today. Nevertheless, despite the mixed reactions, he continued to write in this personalised manner, stating that ‘Every author, as far as he is great and at the same time original, has had the task of creating the taste by which he is to be enjoyed.’
Yet, in truth, wordsworth began to lose his creative
way after 1808. For ten years he had written with an uncompromising vitality and an unshakeable self-belief. when he completed ‘the white doe of rylstone’,
he seemed to lose touch with the impetus that had
driven his creativity. Perhaps he had simply used up
all the self-focused moments of emotional significance from his memory. For whatever reason, after this time Wordsworth’s work is never more than competent. He had peaked by the time he was thirty-eight and for the next forty years he tried, but failed, to climb again to that heady summit of creativity. Nowhere is this more evident than in his two versions of The Prelude. the first version of 1805 is separated from the second of 1850 by some forty-five years, but by an eternity of emotion. the older Wordsworth seems to feel embarrassed, or at the very least uneasy, in the face of the intensities of his youth. However, by this stage of his life he had seen his great works achieve widespread recognition and approbation. As Thomas de Quincey, a contemporary of Wordsworth put it, ‘up to 1820 the name of wordsworth was trampled underfoot; from 1820 to 1830 it was militant; from 1830 to 1835 it has been triumphant.’
48
New exploratioNs • william wordsworth • iNtroductioN
In 1843 Wordsworth was appointed Poet Laureate and received a state pension. He died at his home, Rydal mount, at the age of eighty in 1850. he was buried in Grasmere churchyard, in the same beautiful north-west region of England where he had been born and had lived most of his life.
Wordsworth – the Romantic poet
The terms ‘Romantic’ and ‘Romanticism’ are deceptively easy to use in a literary context, probably because
they have a distant branch in everyday language. We tend to use ‘romantic’, with a lower-case ‘r’, to denote a particular aspect of being in love. It also represents a kind of idealised quality connected with fictional characters.
In the case of women, the ‘romantic’ heroine carries
the connotation of intensity of repressed emotion, an apparent vulnerability concealing strength of passion; while with men, the ‘romantic’ hero usually exhibits an irresistibly attractive disregard for the rules of social behaviour, a sense of freedom from convention. In the 1980s ‘New Romantics’ appeared in the world of popular music, representing a backlash against the overt brutality and harshness of punk music with a less aggressive,
gentler, more feminine ethos encapsulated by their white, frilly shirts and use of make-up.
There is a general sense of what ‘romantic’ means, but
it is a great deal harder to actually define ‘romantic’,
with a capital ‘R’, in a literary context. Perhaps the most important factor to understand about ‘Romanticism’ is that it is a term that was applied after the fact to a particular style of writing and a group of writers. It was not until the nineteenth century that the ‘Lake School’, comprising wordsworth, coleridge and southey, and the later poets Byron, leigh hunt, shelley and keats, were grouped together under the title of the ‘Romantic School’, in a deliberate attempt to connect this disparate group with the ‘Romantics’ of Germany and France. At this time, the term carried a historical connotation, as Thomas Arnold explained in 1862: ‘By romantic poems we mean, poems in which heroic subjects are epically treated, after the manner of the old romances of chivalry.’ In the context
of this definition, coleridge, Byron and the novelist sir Walter Scott were viewed as the great ‘Romantic’ writers. Indeed, Wordsworth was, to a large extent, placed on the margins of the Romantic group.
49
New exploratioNs • william wordsworth • iNtroductioN
However, by the 1930s Wordsworth had been allocated
a central role in ‘Romantic’ writing. Writers such as T. S. Eliot and F. R. Leavis reawakened an interest in his work. Although Wordsworth did not write about the historical subjects that Arnold, in the nineteenth century, considered prerequisite to ‘Romanticism’, he did express many of the features that were regarded in the twentieth century as characteristic of it. First, Wordsworth represented the self- conscious individualisation of the poet when he advocated that the poet ‘ought to travel before men occasionally as well as at their sides’. Allied to this was his idealisation of the poet’s role to a prophet-like status: ‘the Poet, singing a song in which all human beings join with him, rejoices
in the presence of truth as our visible friend and hourly companion’. in some twentieth-century definitions of ‘Romanticism’, this idealised individualisation was seen as enabling the poet to arrive at an understanding that would benefit human society in general. F. r. leavis commented that Wordsworth showed the reader ‘the significance of this poetry for actual living’. he believed that Wordsworth’s poetry was ‘the expression of an order and the product of an emotional and moral training’.
Second, it was generally agreed that the impetus for the ‘Romantic’ writer sprang from his relationship with Nature.
Once aqain, Wordsworth epitomised this relationship with his view that poetry ‘is an acknowledgement of the beauty of the universe’. His combination of personal memory, imagination and observation was seen as representing the ‘romantic’ approach to Nature. m. h. Abrams described ‘Tintern Abbey’ as ‘the joint product of external data and of the mind’. Finally, Wordsworth’s poetry expressed the intensity that is fundamental to the twentieth-century interpretation of ‘Romanticism’, both in an emotional sense, when he tried to write of ‘the spontaneous overflow of powerful feelings’, and on a sensory level, when he stated that poetry should ‘treat of things not as they are but as they appear; not as they exist in themselves, but as they seem to exist to the senses’.
Thus for readers in the twentieth century, Wordsworth is a perfect example of a ‘Romantic’ poet, if there can be such a thing as a perfect example of a rather vague definition. m. h. abrams summed up the problematic nature of the word ‘Romantic’ when he commented that it is ‘one of those terms historians can neither do with nor make do without’. Perhaps the best way to ensure that we treat
the term with caution is to remind ourselves that could we return to the eighteenth century and visit Wordsworth
50
New exploratioNs • william wordsworth • iNtroductioN
in his house, set in the beautiful mountains, he would undoubtedly react with bemused and disconcerted puzzlement if we were to greet him with ‘You must be Wordsworth, the great Romantic poet’! §

barry194

BrownBear11 wrote: »

Last day of the Championship > study. Prioritising has never been my strong suit...

There's 16 minutues of added time in the Watford game. 16 :pac:

Was a serious day of the Championship!

yournerd

Does anyone have any special technique that works for studying the following subjects? Might help me that tad bit

Maths
English
Irish
French
Russian
Economics
Biology
Accounting

All higher I need a bit over 525 points so ill be happy with advice in return ill give you free legal advice in 5 years time

HugsiePie

Prodigious wrote: »

Don't have them, but maybe this will help?

Introduction
Seeking the significant moment
Early life
William Wordsworth was born on 7 April 1770 in cockermouth, cumberland in the north-west of england, an area noted for its beautiful scenery. He was the second son born to John Wordsworth and his wife Anne. wordsworth’s family was comfortable both financially and socially. His father was an attorney-at-law and a land steward, while his mother came from a respectable merchant background. Less than two years later, his sister dorothy was born and the two children developed a close relationship that was to continue into adult life. Sadly, this stable childhood world was rocked by the death of his mother when Wordsworth was eight years old, and his father’s death five years later. some critics have suggested that the loss of his parents at such
a young age had a lasting effect on Wordsworth, in
that much of his poetry is underpinned by a sense of searching for an absent quality that will somehow fill a
gap in his life. In one of his earliest poems, composed when he was about sixteen years old, Wordsworth writes:
Now, in this blank of things, a harmony Home-felt, and home-created comes to heal That grief for which the senses still supply Fresh food; for only then, when memory
Is hushed, am I at rest.
two of their uncles became guardians to the five Wordsworth children and ensured that they were brought up in a manner suitable to their social station. Wordsworth attended Hawkshead Grammar School and, at the age of seventeen, entered st John’s college, cambridge.
wordsworth’s career at cambridge was undistinguished, but the long holidays gave him the opportunity to indulge in a favourite pastime, walking in the countryside. The appreciation of Nature and the first-hand experiencing of the natural world became increasingly popular towards the end of the eighteenth century. In the summer of 1790, Wordsworth and a college friend went on a walking holiday through France and Switzerland, ‘staff in hand, without knapsacks, each his neediments tied up in a pocket-handkerchief’. Wordsworth was impressed by the
45
New exploratioNs • william wordsworth • iNtroductioN
majesty of the alps and wrote a series of ‘descriptive Sketches’ detailing the scenery:
The rocks rise naked as a wall, or stretch
Far o’er the water, hung with groves of beech...
In later life, Wordsworth came to view these pieces as representing a time when he was enveloped by the visual aspect of Nature, when he revelled in seeing, with little
or no understanding of the spiritual quality of the natural world. At this stage, his writing was very much in tune with the poetry of the time, where natural beauty was described in detailed word pictures without intellectual consideration.
After receiving his BA, Wordsworth returned to France with the intention of learning French. However, he
was diverted by a growing interest in the revolutionary movement that was sweeping through France, and by his love affair with Annette Vallon, who bore him a daughter. However, under pressure from his friends and relations who were anxious about the political instability in France, Wordsworth returned to England and was not to see his daughter until she was nine years old.
Samuel Taylor Coleridge
On his return from France, Wordsworth rather reluctantly published some of his work. The books were not particularly well received and sold slowly. However, another young writer, samuel taylor coleridge, did read them and was immensely impressed, commenting: ‘Seldom, if ever, was the emergence of an original
poetic genius above the literary horizon more evidently announced.’ The pair met in 1795 and became great friends, travelling and writing together. at coleridge’s suggestion they began to write a series of poems that was to become The Lyrical Ballads, generally recognised as marking the beginning of the romantic movement in English poetry. This collaboration resulted in Wordsworth producing some of his most uniquely individual poetry, such as parts of The Prelude, the ‘Lucy’ poems and ‘Lines written above tintern abbey’. coleridge regularly visited wordsworth and his sister dorothy at Grasmere, in the lake district. although she was a talented writer herself, dorothy devoted most of her energies to caring for her brother until his death in 1850. Even when Wordsworth married mary hutchinson in 1802, dorothy continued
to live with the couple and was very much a part of the literary group that developed around Wordsworth. In 1810 the friendship between coleridge and wordsworth
46
New exploratioNs • william wordsworth • iNtroductioN
ended. during one of his visits to the wordsworths, coleridge’s addiction to opium led him to behave in an extremely difficult manner and wordsworth grew tired of trying to cope with it all. when coleridge discovered that Wordsworth had spoken dismissively of him to a friend, he was deeply hurt and the two men were estranged for quite a while. Finally they did patch up their relationship, but
it was never the same. coleridge wrote, ‘a reconciliation has taken place – but the feeling can never return.’
Wordsworth’s poetic theory
It was a sad end to what had been a wonderfully creative friendship. long discussions with coleridge had led Wordsworth to formulate his theories on poetry, which
he expressed in his famous ‘Prefaces’. He saw poetry as originating ‘from emotion recollected in tranquillity’: that is, sensory memory is used to recreate a moment arising in ‘everyday life’, made significant by ‘powerful feelings’. By revisiting the emotionally significant moment through sensory memory, a further quality is added to the original experience. The moment is uniquely personal to the poet, but because of the way in which he expresses it the moment takes on a more general relevance to all people. For Wordsworth, the poet has ‘a greater readiness and
power in expressing what he thinks and feels’. But he is, above all, ‘a man speaking to men’. For this reason, the poet should use ‘a selection of language really used by men’ in such a way that ‘ordinary things are presented
to the mind in an unusual aspect’. In this way, the poet creates a new moment that has significance not only for himself, but also for his reader. It encapsulates ‘truth,
not individual and local, but general, and operative; not standing upon external testimony, but carried into the heart by passion’. For Wordsworth, Nature played a vital role in this truth, since the poet ‘considers man and nature as essentially adapted to each other, and the mind of man as naturally the mirror of the fairest and most interesting properties of nature.’ Thus, ‘Poetry is the image of man and nature.’ Wordsworth believed that Nature was symbolic of the essential Truths that could give coherence to an apparently disordered world and, because of this,
it triggers significant moments of emotion in the poet. poetry, that expressed these moments of significance, enabled the reader to understand something of the great truths underlying both his or her own existence and the society and world in which he lived. For Wordsworth, this act of poetic creation helped both the poet and the reader to restore something that could be lost, all too easily,
in everyday life: the power to escape from the physical
47
New exploratioNs • william wordsworth • iNtroductioN
limitations of time and place, to grow positively and strongly in the face of an apparently confused universe, to improve the social context of human existence, to experience joyfully the emotionally significant moment.
The later years
Wordsworth, by the poetic theory that he had formulated, came to view the poet, and therefore himself, as an individual set apart. His focus was on his own emotional reactions. In The Prelude, composed between 1799
and 1805, he traced the ‘Growth of a poet’s mind’, that
is, his own mind, with a series of vivid and immediate descriptions. Although Wordsworth himself considered this an acceptable poetic stance, and many of his devoted readers felt that it was an approach justified
by his incisive observations, an equal number of his contemporaries viewed it as indulgently self-centred and egotistical. Indeed, this divergence of opinion regarding Wordsworth still exists today. Nevertheless, despite the mixed reactions, he continued to write in this personalised manner, stating that ‘Every author, as far as he is great and at the same time original, has had the task of creating the taste by which he is to be enjoyed.’
Yet, in truth, wordsworth began to lose his creative
way after 1808. For ten years he had written with an uncompromising vitality and an unshakeable self-belief. when he completed ‘the white doe of rylstone’,
he seemed to lose touch with the impetus that had
driven his creativity. Perhaps he had simply used up
all the self-focused moments of emotional significance from his memory. For whatever reason, after this time Wordsworth’s work is never more than competent. He had peaked by the time he was thirty-eight and for the next forty years he tried, but failed, to climb again to that heady summit of creativity. Nowhere is this more evident than in his two versions of The Prelude. the first version of 1805 is separated from the second of 1850 by some forty-five years, but by an eternity of emotion. the older Wordsworth seems to feel embarrassed, or at the very least uneasy, in the face of the intensities of his youth. However, by this stage of his life he had seen his great works achieve widespread recognition and approbation. As Thomas de Quincey, a contemporary of Wordsworth put it, ‘up to 1820 the name of wordsworth was trampled underfoot; from 1820 to 1830 it was militant; from 1830 to 1835 it has been triumphant.’
48
New exploratioNs • william wordsworth • iNtroductioN
In 1843 Wordsworth was appointed Poet Laureate and received a state pension. He died at his home, Rydal mount, at the age of eighty in 1850. he was buried in Grasmere churchyard, in the same beautiful north-west region of England where he had been born and had lived most of his life.
Wordsworth – the Romantic poet
The terms ‘Romantic’ and ‘Romanticism’ are deceptively easy to use in a literary context, probably because
they have a distant branch in everyday language. We tend to use ‘romantic’, with a lower-case ‘r’, to denote a particular aspect of being in love. It also represents a kind of idealised quality connected with fictional characters.
In the case of women, the ‘romantic’ heroine carries
the connotation of intensity of repressed emotion, an apparent vulnerability concealing strength of passion; while with men, the ‘romantic’ hero usually exhibits an irresistibly attractive disregard for the rules of social behaviour, a sense of freedom from convention. In the 1980s ‘New Romantics’ appeared in the world of popular music, representing a backlash against the overt brutality and harshness of punk music with a less aggressive,
gentler, more feminine ethos encapsulated by their white, frilly shirts and use of make-up.
There is a general sense of what ‘romantic’ means, but
it is a great deal harder to actually define ‘romantic’,
with a capital ‘R’, in a literary context. Perhaps the most important factor to understand about ‘Romanticism’ is that it is a term that was applied after the fact to a particular style of writing and a group of writers. It was not until the nineteenth century that the ‘Lake School’, comprising wordsworth, coleridge and southey, and the later poets Byron, leigh hunt, shelley and keats, were grouped together under the title of the ‘Romantic School’, in a deliberate attempt to connect this disparate group with the ‘Romantics’ of Germany and France. At this time, the term carried a historical connotation, as Thomas Arnold explained in 1862: ‘By romantic poems we mean, poems in which heroic subjects are epically treated, after the manner of the old romances of chivalry.’ In the context
of this definition, coleridge, Byron and the novelist sir Walter Scott were viewed as the great ‘Romantic’ writers. Indeed, Wordsworth was, to a large extent, placed on the margins of the Romantic group.
49
New exploratioNs • william wordsworth • iNtroductioN
However, by the 1930s Wordsworth had been allocated
a central role in ‘Romantic’ writing. Writers such as T. S. Eliot and F. R. Leavis reawakened an interest in his work. Although Wordsworth did not write about the historical subjects that Arnold, in the nineteenth century, considered prerequisite to ‘Romanticism’, he did express many of the features that were regarded in the twentieth century as characteristic of it. First, Wordsworth represented the self- conscious individualisation of the poet when he advocated that the poet ‘ought to travel before men occasionally as well as at their sides’. Allied to this was his idealisation of the poet’s role to a prophet-like status: ‘the Poet, singing a song in which all human beings join with him, rejoices
in the presence of truth as our visible friend and hourly companion’. in some twentieth-century definitions of ‘Romanticism’, this idealised individualisation was seen as enabling the poet to arrive at an understanding that would benefit human society in general. F. r. leavis commented that Wordsworth showed the reader ‘the significance of this poetry for actual living’. he believed that Wordsworth’s poetry was ‘the expression of an order and the product of an emotional and moral training’.
Second, it was generally agreed that the impetus for the ‘Romantic’ writer sprang from his relationship with Nature.
Once aqain, Wordsworth epitomised this relationship with his view that poetry ‘is an acknowledgement of the beauty of the universe’. His combination of personal memory, imagination and observation was seen as representing the ‘romantic’ approach to Nature. m. h. Abrams described ‘Tintern Abbey’ as ‘the joint product of external data and of the mind’. Finally, Wordsworth’s poetry expressed the intensity that is fundamental to the twentieth-century interpretation of ‘Romanticism’, both in an emotional sense, when he tried to write of ‘the spontaneous overflow of powerful feelings’, and on a sensory level, when he stated that poetry should ‘treat of things not as they are but as they appear; not as they exist in themselves, but as they seem to exist to the senses’.
Thus for readers in the twentieth century, Wordsworth is a perfect example of a ‘Romantic’ poet, if there can be such a thing as a perfect example of a rather vague definition. m. h. abrams summed up the problematic nature of the word ‘Romantic’ when he commented that it is ‘one of those terms historians can neither do with nor make do without’. Perhaps the best way to ensure that we treat
the term with caution is to remind ourselves that could we return to the eighteenth century and visit Wordsworth
50
New exploratioNs • william wordsworth • iNtroductioN
in his house, set in the beautiful mountains, he would undoubtedly react with bemused and disconcerted puzzlement if we were to greet him with ‘You must be Wordsworth, the great Romantic poet’! §

Seeing as your in the essay providing mood, any chance you have an identity essay by key mental for the comparative prepared

bluejay14

I've just seen an ad on the tv for a christmas movie. Fred Clause is on TV3 tomorrow.


In case ye hadn't noticed, it's only the 4th of May.

I actually can't believe it.

HugsiePie

bluejaymraz wrote: »

I've just seen an ad on the tv for a christmas movie. Fred Clause is on TV3 tomorrow.


In case ye hadn't noticed, it's only the 4th of May.

I actually can't believe it.

Why are you surprised, I have my wish list prepared since March
I want a griffin, failing that, a unicorn

frozenfrozen

I got glandular fever and haven't touched a book in a month now. Just in case anyone wanted to feel better about not doing enough work.

Parawhore.xD

I got my mom to trim my hair today, first time it's been cut in ages. It got a tad emotional, she literally only took and inch of very dead hair off but I still feel bald

Prodigious

HugsiePie wrote: »

Seeing as your in the essay providing mood, any chance you have an identity essay by key mental for the comparative prepared

Alas, no, apologies :P

bluejay14

After seeing that last fella on BGT with the tied tongue, I have now diagnosed myself with a tied tongue. :L

Slow Show

Actually guys while we're talking about it (several hours ago >.>), we got given the DEB maths paper to do (did Examcraft for the mock) complete with marking scheme and on the off chance that anyone remembers, something in the marking scheme to do with Financial Maths really bugged me, there was a question where they asked for Present Value and then the answer's in Future Value and it was all just very confusing and traumatic. Just saying this on the off chance that anyone remembers some error with the DEB marking scheme really and I can feel less crap about it all.

Anyone else hate Financial Maths when it comes to exam papers? I mean the chapter is essentially just a few formulae and it's all great craic but then the exam questions manage to confuse the sh*t outta me. Hopefully they'll word things a bit nicer in the real thing, and it admittedly wouldn't be the worse Context & Applications question they could conjure!

decisions

Slow Show wrote: »

Actually guys while we're talking about it (several hours ago >.>), we got given the DEB maths paper to do (did Examcraft for the mock) complete with marking scheme and on the off chance that anyone remembers, something in the marking scheme to do with Financial Maths really bugged me, there was a question where they asked for Present Value and then the answer's in Future Value and it was all just very confusing and traumatic. Just saying this on the off chance that anyone remembers some error with the DEB marking scheme really and I can feel less crap about it all.

Anyone else hate Financial Maths when it comes to exam papers? I mean the chapter is essentially just a few formulae and it's all great craic but then the exam questions manage to confuse the sh*t outta me. Hopefully they'll word things a bit nicer in the real thing, and it admittedly wouldn't be the worse Context & Applications question they could conjure!

Yeh, my teacher mentioned something about it. I got 1 mark in the mock for financial maths :pac:

jamo2oo9

Believe it or not but it's actually all about attempt marks. There was a question in our mock where it said find the percentage of 2000E after taxes and something else. Made no sense but question was 15 marks. If you wrote down 2000, you would've gotten 5 marks!

Copper_pipe

In last years exam there was a long question in paper 2 worth 75 marks (It was about a robotic arm) The part A was worth 45 marks

BrownBear11

barry194 wrote: »

Was a serious day of the Championship!

I like Hull. Glad they're up

jamo2oo9 wrote: »

Believe it or not but it's actually all about attempt marks. There was a question in our mock where it said find the percentage of 2000E after taxes and something else. Made no sense but question was 15 marks. If you wrote down 2000, you would've gotten 5 marks!

Higher partial credit's what it's all about

11Charlie11

I got 14% in the Deb paper 1 mock which wasn't corrected by a project maths examiner and then we did the examcraft one and I got 60% which included attempt marks although I thought the examcraft was easier and they were done three weeks apart

Hopefully they stick with the high partial credit or else I'm screwed

Canard

Copper_pipe wrote: »

In last years exam there was a long question in paper 2 worth 75 marks (It was about a robotic arm) The part A was worth 45 marks

Many of us didn't even get through part A...*cough* Lol I got 12/75 in that, F

Meant to mention it when I saw a post a while back - if that kind of thing happens where part A is too hard but the rest require its answer, just make one up! You're allowed to do that and I'm pretty sure it warrants full marks since you're only penalised once, and that would be in not answering (a).

Say it Aint So

Canard wrote: »

Many of us didn't even get through part A...*cough* Lol I got 12/75 in that, F

Meant to mention it when I saw a post a while back - if that kind of thing happens where part A is too hard but the rest require its answer, just make one up! You're allowed to do that and I'm pretty sure it warrants full marks since you're only penalised once, and that would be in not answering (a).

Great tip actually! I might actually do that

Copper_pipe

Is trial and error valid in maths

HPMS

Canard wrote: »

Many of us didn't even get through part A...*cough* Lol I got 12/75 in that, F

Meant to mention it when I saw a post a while back - if that kind of thing happens where part A is too hard but the rest require its answer, just make one up! You're allowed to do that and I'm pretty sure it warrants full marks since you're only penalised once, and that would be in not answering (a).

I do this all the time. If I can't do a part but require an answer to move on I just write "taking x to be the answer to part (a)" - I got loads of marks in the mock because I did this! Came out with 83%

Jade.

Just decided to research some courses I could throw down as a back up! I love bits of so many courses I'd love to combine them into one! :pac:

HugsiePie

Prodigious wrote: »

Alas, no, apologies :P

Ugh, some people are just so selfish! Now I have to go write my essay all by myself!

:P

Slow Show

This time next month English Paper 1 will be done.

This is a good thing, really >.>

peekachoo

Heading out tonight, last night out before the LC (except for grad night)
It's becoming so real :pac:

Prodigious

Change of mind is open just so ye know.

bluejay14

peekachoo wrote: »

Heading out tonight, last night out before the LC (except for grad night)
It's becoming so real :pac:

I'm the opposite. I've been away all day and was planning on going out to a double 18th bash which started an hour ago. I've just got home and am both starving and feeling slightly sick as well as far too lazy to bother showering and getting ready etc. Looks like it's another night in for me so.

I also have a seriously limited budget because I still need to buy a full outfit for grad night, a birthday present for my best friend and I need money to go out with on grad night too.

Jade.

I've more nights out planned up to the leaving cert than I did all year :pac:

barry194

peekachoo wrote: »

Heading out tonight, last night out before the LC (except for grad night)
It's becoming so real :pac:

Same as didn't think I would go out but feck it :P