the Last samuri essays

the Last samuri essays This was an absolute wonderful movie. When I went to go see it I was just going to get extra credit, but right at the beginning of the movie I knew it was going to be good. The way the started the movie was great how they showed Tom Cruise drinking and the cut to this guy announcing he was a captain the in Indian wars. The he comes out and starts his performance which is to sell this gun, but instead of doing as he always does he calks the gun and fires it. I thought this scene was extremely funny. As the movie progresses you can tell how much he regrets whats hes done in the Indian wars cause every once and awhile when hes sleeping he has dreams of whats hes done and then he wakes up in a cold sweat. He is hired to train Japanese soldiers so the can fight against the rebellious Samurai warriors. He excepts the job because he is going to be paid five hundred dollars a month which is an awful lot of money back then. So he gets to Japan starts to train these soldiers. Then awhile later the Samurai attack the railroad and they want them to go and fight them. He tries to convince them that the soldiers arent ready by forcing one of the Japanese men to try and shoot him and like he suspected he missed. They still make them go and attack them. So they are in the forest then can here something coming so line up in attack position. Then all of a sudden the Samurai appear out of the trees and begin to gallop there horses towards them. They start shooting, but even though they all had guns they retreated because the samurai warriors were very skilled with there blades. Until the last person who was fighting them was Tom Cruises character he was surrounded, but still he held them all back until a man with red armor stepped forward and challenged him. It looked as if he gave up ,but then he lunged forward with is sword and killed him. The leader then ordered them all to stop and they took him ...

Poetry Rhythm And Metre †Part 2

Poetry Rhythm And Metre – Part 2 Poetry Rhythm And Metre – Part 2 Poetry Rhythm And Metre – Part 2 By Simon Kewin Our previous post looked at the basics of poetry rhythm and metre (or, in the US, meter). This post goes into further detail on the common rhythms employed by poets, and it covers some of the terminology used to describe and discuss them. Not all poetry pays close attention to metre, but a great deal does and a poet should always be aware of what the various terms mean. As we saw in the previous post, rhythm in spoken English is a product of patterns of stressed and unstressed syllables. So, for example, the word poem is a stressed syllable followed by an unstressed syllable. You could write it PO-em to highlight this. Poets refer to this particular pattern as a trochee (a word originating from the Greek, as with much poetic terminology). It’s an example of what is called a â€Å"metrical foot†, which is just another way of describing a pattern of stressed and unstressed syllables. Other examples of trochees would be â€Å"Monday†, â€Å"fire†, â€Å"water† and â€Å"speaker†. Of course, it’s always possible to pronounce these words so that they aren’t trochees (they aren’t â€Å"trochaic†) – you might, for example, say Mon-DAY rather than MON-day in an exclamation. If you did say â€Å"Monday† with the emphasis on the second syllable, then you would be using an iamb rather than a trochee. An iamb is an unstressed syllable followed by a stressed syllable. Other examples of iambs are â€Å"around†, â€Å"infect†, â€Å"decide† and â€Å"trapeze†. Between them, trochees and iambs make up a great deal of English poetry. There are two other metrical feet consisting of two syllables : the spondee (stressed-stressed, such as â€Å"heartbreak†) and the pyrrhic (unstressed-unstressed, such as â€Å"and the†). It’s rare for a poem to contain a lot of spondees or pyrrhics – they are generally used sparingly to break up a regular pattern of iambs etc. It’s also worth knowing about some three syllable feet : the anapest (unstressed-unstressed-stressed e.g. â€Å"to the moon†), the dactyl (stressed-unstressed-unstressed, e.g. â€Å"poetry†) and the amphibrach (unstressed-stressed-unstressed, e.g. â€Å"undying†). All of these terms are often used in combination with a word indicating how many of them there are in each line of a poem. This gives us a complete description of a poem’s metre. So, for example, if each line consists of five iambs, such as those from Gray’s Elegy Written in a Country Church-Yard reproduced in the first post, we would describe this as â€Å"iambic pentameter†. The word pentameter means, simply, that there are five metrical feet to the line. Other numbers of feet have similar terms: trimeter for three, tetrameter for four, hexameter for six and so forth. So, if your poem generally has four trochees to the line, you would say its metre is trochaic tetrameter. If you write poetry, metre is an additional dimension to your work you should be thinking about. Sometimes, as you write a particular poem, it will naturally start to fall into a particular rhythm scheme. Sometimes it is a conscious decision. Its always up to you whether you want to stay with a chosen metre and how strictly you want to adhere to it. Different metres will have different effects on the sound of your poem. It pays to experiment. For example, does your poem demand a fast-moving rhythm or something more sombre? Do you want to stick to a predictable, confident metre or write something less clear-cut, more full of uncertainties and pauses? The answer will always depend on the individual poem. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Fiction Writing category, check our popular posts, or choose a related post below:60 Synonyms for â€Å"Walk†Is There a Reason â€Å"the Reason Why† Is Considered Wrong?May Have vs. Might Have