Commonly Confused Words Heard and Herd

The words heard and herd  are homophones: they sound alike but have different meanings. Definitions Heard is the past form of the verb to hear  (to perceive sound or listen). The noun herd refers to a large group of animals or people. As a verb, herd means to gather into a group or to move as a group. Examples If youve heard this story before, dont stop me, because Id like to hear it again.(Groucho Marx)I heard the thunder of running feet and the clashing horns,  and I looked to see where the noise was coming from and saw the herd coming. I was directly in its path.(W.E. Oglesby quoted by  Jim Lanning and Judy Lanning in  Texas Cowboys: Memories of the Early Days. Texas  AM University Press,  1984)The teacher proceeded to herd the children out of the classroom. Idiom Alerts Heard It Through the GrapevineThe expression hear or heard it through the grapevine means to find out about something through gossip or rumor.I heard it through the grapevine that youre being promoted. Is that true?Never Heard of Such a ThingNever heard of such a thing is an expression of disbelief or amazement.I have to paint this speed trap—on the orders of the governor, maam.Ginny had  never heard of such a thing  and was instantly inflamed. There were fewer than twenty gas-powered land vehicles on the entire island, most of them rusting pickup trucks used for hauling things. Pretty much everybody either walked or got around on golf  carts, scooters, mopeds, or bicycles.(Patricia Cornwell, Isle of Dogs. G.P. Putnams Sons, 2001)Could Have Heard a Pin DropThe clichà ©Ã‚  could have heard a pin drop means extremely quiet, usually because people are very interested in something that has just been said or done.You  could have heard a pin drop  in the locker room as he spoke of Raiders football, of the responsibility we had to the coaches, and the proud team tradition we werent living up to.(Marcus Allen with  Carlton Stowers, Marcus: The Autobiography of Marcus Allen.  St. Martins press, 1997)Ride HerdThe metaphorical expression to ride herd (on somebody or something) means to maintain firm control or keep close watch (often over a process or a group of people).Unlike the White House, Number 10 Downing Street is not filled with special assistants, special advisors, counselors, committees, and offices designed to  ride herd on  the bureaucracy. Why the difference? In a word, the answer is the Constitution.(James Q. Wilson,  Bureaucracy: What Government Agencies Do and Why They Do It. Basic Books, 2000) Practice Exercises (a) The police tried to _____ the protesters away from the square. (b) Under the drone of rain she _____ the slosh of feet in mud.(Richard Wright, Bright and Morning Star. New Masses, 1939)(c) By the time we caught up to the grazing _____, the cattle were within a mile of the river. Answers to Practice Exercises (a) The police tried to herd the protesters away from the square.(b) Under the drone of rain ​she heard the slosh of feet in mud.(Richard Wright, Bright and Morning Star.  New Masses, 1939)(c) By the time we caught up to the grazing herd, the cattle were within a mile of the river.

Group Counseling A Group - 822 Words

Introduction This paper is a brief reflection of what this writer has learned throughout this group-counseling course. Topics discuss significant things this writer has learned about group counseling, about herself as a group leader, skills and experiences to develop, current strengths and weakness in leading group and types of groups this writer is interested in leading. Group Counseling The most significant thing this writer has learned about group counseling in this course is that the process is the groups’. When the process is the groups’, as sessions progress, the facilitator will not need to be as involved, as the group members will carry the group. This knowledge is something this writer was aware of, but did not fully understand and this writer now feels that she has a good understanding of this. Being a Group Leader Even though this writer has been facilitating groups for the past three years, this writer has gained much knowledge throughout this course about herself as a group leader. Something that this writer learned about herself is her want for the group to be â€Å"successful†. Though this writer is aware that a group members progress and/or success depends on the member and not the group facilitator, this writer has in the past felt discouraged when a youth had disclosed that they had not gained something from group. This course has strengthened this writers knowledge that it is the group members responsibility to be successful in the group process andShow MoreRelatedGroup Counseling1524 Words   |  7 PagesRunning head: Growing Trends in Group Counseling Growing Trends in Group Counseling: Ethical and Technological Issues that Effect Vocational Rehabilitation Term Paper By Diadra McGraw 546 Group Counseling Dr. B. 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Oedipus the King Free Essays

The ancient Greek philosopher Aristotle once identified the key ingredients of the tragedies that his culture is so famous for. These ingredients include a character with a fatal flaw, the realization of the fault for a particular problem and the final sudden reversal of fortune. For many tragedies, the fatal flaw is demonstrated as excessive pride, which usually serves as the driving force of the play’s action. We will write a custom essay sample on Oedipus the King or any similar topic only for you Order Now It is common, even beneficial, to have pride in oneself, but when it becomes expressed as arrogance or in defiance of one’s fate, it is considered excessive and often leads men to engage in activities that will lead to their downfall. Aristotle (1998) stated â€Å"the tragic hero falls into bad fortune because of some flaw in his character of the kind found in men of high reputation and good fortune such as Oedipus. † This attitude, commonly found in men of high station is not specifically identified as pride in the case of Oedipus and, indeed, different readings can place Oedipus’ great flaw in a number of areas. It seems as if Sophocles intended to emphasize the more common interpretation of Oedipus’ flaw being excessive pride, but other interpretations, such as Pier Paolo Pasolini’s 1967 film Oedipus Rex, present other possibilities as the main character is brought through the three primary elements of tragedy. In both the play and the film, Oedipus is quickly demonstrated to have a fatal flaw. In the play, the action opens as Oedipus is approached by plague-stricken masses asking help from him as king. He responds to their appeals saying, â€Å"What means this reek of incense everywhere, / From others, and am hither come, myself, / I Oedipus, your world-renowned king† (4-8). In this statement, Oedipus’ pride in his social position is clear. In the film, though, he is seen as somewhat insecure, even as a child when he cheats at a game, and then as a haunted man with a burning mystery searing his dreams, both showing him to be a man of deep passions. Throughout the remainder of the action in the play, Oedipus’ personality clearly reflects excessive pride in his ability to force things his way. When Oedipus learned of the prediction that he was doomed to kill his father and marry his mother, he was full of self-pride to defy the fates and leave Corinth. The film depicts this as a heart-wrenching decision to never go near his parents again in order to save them followed by a time of desperate wandering through barren wastelands. While both versions indicate extreme passion involved in the killing of Laius and the claiming of Jocasta, the Oedipus in the play greets his subjects with almost concealed disdain and the Oedipus of the film greets them with sorrow and deeply shared concern. While Sophocles sets his character up to battle pride, Pasolini prepares him to come face to face with the consequences of passion. It is easy to see the irony in both play and film that if Oedipus had not been so determined to escape and prevent the prophecy, he would have not unwittingly fulfilled it. This is foreshadowed by Creon in the play just before the truth of the story is realized. Creon tells Oedipus, â€Å"You are obstinate— / obviously unhappy to concede, / and when you lose your temper, you go too far. But men like that find it most difficult / to tolerate themselves† (814-819). In this one short statement, Jocasta’s brother sums up the entire tragedy. He points to Oedipus’ stubbornness and pride in being unwilling to consider the possibility that he might be the murderer he seeks. As a result of his own impatience and driving desire to bring honor and further pride to his name, Oedipus becomes excessive in his proclamations regarding motives and punishments to be handed down and then suddenly realizes that he cannot escape the horror of his crimes. This horror is demonstrated in the film to great effect as the confused Oedipus slowly becomes overwhelmed with the possibilities, finally screaming out his confession in a now-customary burst of passion. By the end of the story, Oedipus has come to realize that everything he has done has only served to bring him closer to his evil destiny. In the process of trying to avoid fate, he has committed some of the greatest sins imaginable to him – defiled his mother’s bed, murdered his father and spawned monstrous children born of incest. Rather than face the truth and unable to take the severe wound to his pride, Oedipus stabbed out his eyes with broaches and walked away from Thebes forever, thereby sealing his doom through further prideful actions. The sudden reversal of fortune has Oedipus walking away from Thebes a blind, homeless beggar rather than the respected king he should have been based upon his more noble qualities. While this is a surprise, it is nevertheless a logical possible conclusion to the events that have taken place. This concept is brought out to greater extent in the film through the change in setting. Pasolini begins and ends the film in a contemporary setting to when the film was made. While the play suggests that Oedipus went wandering into the desert a self-blinded beggar man, the film indicates that he has been wandering a tortured individual for much longer than a normal lifespan. Thus, the elements of classic tragedy are carried throughout both play and film to slightly different interpretations. In both, a fatal flaw within the character of Oedipus drives his actions that eventually seal his own doom. Seen as it is throughout the various elements of the classic tragedian format of first demonstrating a noble characteristic to tragic proportions, then becoming aware of it and then suffering as a result of it, it cannot be missed that Sophocles was trying to illustrate to his audience the dangers of an absence of humility and common sense when he highlighted Oedipus’ excessive pride. Pasolini seems to have been more interested in warning his audiences about the sins of excessive passion. This is, in some sense, what Aristotle was trying to communicate regarding the purpose of tragedy, which he describes as â€Å"an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play †¦ through pity and fear effecting the proper purgation of these emotions† (Aristotle cited in Friedlander, 2005). By illustrating the various things that can go wrong when one believes they have no flaws, Sophocles and Pasolini hoped to encourage a closer connection with truth as a means of avoiding Oedipus’ fate. Works Cited â€Å"Aristotle. † Critica Links. (1998). The University of Hawaii. May 21, 2007 Pasolini, Pier Paolo (Dir. ). Edipo Re. Perf. Silvana Mangano, Franco Citti, Carmelo Bene, Julian Beck Ninetto Davoli. Arco Films, 1967. Sophocles. Antigone, Oedipus the King, Electra. Oxford World’s Classics. Ed. Edith Hall. Oxford University Press, 1998. 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The Highwayman Poem Analysis Essay Example For Students

The Highwayman Poem Analysis Essay Alfred Noyes creates tension in his poem, The Highwayman, as does Thomas Hardy in A Trampwomans Tragedy.  The immediate reaction to both poems is dancer which brings tension and suspense to the texts. This immediate reaction is created from the titles. The Higwayman brings a sense of criminal association, which raises questions over what is going to happen in the poem. Here suspense is created which quickly engages the reader. Thomas Hardys poem has the same effect, A Trampwomans Tragedy. Tragedy creates expectations of possibly the downfall of the protagonist through death. This creates dancer, which brings tension and suspense. The progression of both poems is important in creating suspense and tension as it also creates expectations making the poem exciting using romantic language, such as purple moor and ribbon of moonlight. Purple being a very deep, rich colour introduces us to the highwayman as he comes riding-riding-riding-riding. The repetition of riding gives a sense of movement as if coming up to something, but what? This creates suspense. The dramatic pauses between words also add a sense of mystery as if its getting closer and closer, building up tension. We continue to see words such as twinkle, jewelled sky, red love-knot and claret velvet all building up hope of something romantic and beautiful/ But we are soon introduced to Tim, the contrast of the previous colours, to white and peaked and words such as madness all raise fear and danger as something clearly is not right, again creating tension and suspense. Also, riding-riding now becomes marching-marching. Marching has a more forceful tone to it and not as soft as riding. This creates suspense as something different is coming and the word marching means its not good. We are then introduced to more painful language, sweat, blood, stretched, and strained. Then colour seems to have no specific place anymore, grey, blood-red, white-road. They all seem to be jumbled together. This progression creates contrasts and raises even more tension and suspense. Similarly Hardy uses progression in A Trampwomans Tragedy. Language begins happy, livelong day, beat afoot, and travelled, there is also detail of places, sedge-moor. The encouraging language gives a sense of meaning and purpose. But the tension arises when this is later contrasted with dark distress, death-day, weak, places become anonymous, The taverns. The contrast creates the effect of loneliness and events getting worse, this creates tension as things start to go wrong. The poem then ends with a sense of depression, haunting, ghost and gloomy. Here progression is also important achieving suspense and we build expectations and want to know the outcome. Hardy also uses repetition, alone,alone,alone!, this emphasises the trampwomans tragedies of her lovers. Reminding us of the tension beforehand of her teasing that went too far. Nature is reflected in both poems with the use of pathetic fallacy. Hardy uses words such as sun-blaze, fields and humpikes to create a sense of movement as if getting closer to something, creating suspense. Noyes uses the seas and waves to show fate, that they have little control over what they do. In the context of the poem this creates tension as we realise that the highwayman and the daughter may never get together.  In conclusion both poets create tension and suspense successfully through language and progression of the poems.