Looking as if she were alive. I call
That piece a wonder, now; Fra Pandolf's hands
Worked busily a day, and there she stands.
Will't please you sit and look at her? I said
"Fra Pandolf" by design, for never read
Strangers like you that pictured countenance,
That depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain drawn for you, but I) 
And seemed as they would ask me, if they durst,
How such a glance came there; so not the first
Are you to turn and ask thus. Sir, 't was not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek: perhaps
Fra Pandolf chanced to say "Her mantle laps
Over my lady's wrist too much" or "Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat:" such stuff
Was courtesy, she thought, and cause enough 
For calling up that spot of joy. She had
A heart - how shall I say? - too soon made glad,
Too easily impressed: she liked whate'er
She looked on, and her looks went everywhere.
Sir, 't was all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace -all and each
Would draw from her alike the approving speech, 
Or blush,at least. She thanked men - good! but thanked
Somehow - I know not how - as if she ranked
My gift of a nine-hundred-years-old name
With anybody's gift. Who'd stoop to blame
This sort of trifling? Even had you skill
In speech - (which I have not) - to make your will
Quite clear to such a one, and say, "Just this
Or that in you disgusts me; here you miss
Or there exceed the mark"- and if she let
Herself be lessoned so, nor plainly set 
Her wits to yours, forsooth, and made excuse
- E'en then would be some stooping; and I choose
Never to stoop. Oh sir, she smiled, no doubt,
Whene'er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will 't please you rise? We'll meet
The company below, then. I repeat,
The Count your master's known munificence
Is ample warrant that no just pretence 
Of mine for dowry will be disallowed;
Though his fair daughter's self, as I avowed
At starting is my object. Nay, we'll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me.
“Two Views of the River” by Mark Twain
Now when I had mastered the language of this water and had come to know every trifling feature that bordered the great river as familiarly as I knew the letters of the alphabet, I had made a valuable acquisition. But I had lost something, too. I had lost something which could never be restored to me while I lived. All the grace, the beauty, the poetry had gone out of the majestic river! I still keep in mind a certain wonderful sunset which I witnessed when steamboating was new to me. A broad expanse of the river was turned to blood; in the middle distance the red hue brightened into gold, through which a solitary log came floating, black and conspicuous; in one place a long, slanting mark lay sparkling upon the water; in another the surface was broken by boiling, tumbling rings, that were as many-tinted as an opal; where the ruddy flush was faintest, was a smooth spot that was covered with graceful circles and radiating lines, ever so delicately traced; the shore on our left was densely wooded, and the sombre shadow that fell from this forest was broken in one place by a long, ruffled trail that shone like silver; and high above the forest wall a clean-stemmed dead tree waved a single leafy bough that glowed like a flame in the unobstructed splendor that was flowing from the sun. There were graceful curves, reflected images, woody heights, soft distances; and over the whole scene, far and near, the dissolving lights drifted steadily, enriching it, every passing moment, with new marvels of coloring.
I stood like one bewitched. I drank it in, in a speechless rapture. The world was new to me, and I had never seen anything like this at home. But as I have said, a day came when I began to cease from noting the glories and the charms which the moon and the sun and the twilight wrought upon the river's face; another day came when I ceased altogether to note them. Then, if that sunset scene had been repeated, I should have looked upon it without rapture, and should have commented upon it, inwardly, after this fashion: This sun means that we are going to have wind to-morrow; that floating log means that the river is rising, small thanks to it; that slanting mark on the water refers to a bluff reef which is going to kill somebody's steamboat one of these nights, if it keeps on stretching out like that; those tumbling ``boils'' show a dissolving bar and a changing channel there; the lines and circles in the slick water over yonder are a warning that that troublesome place is shoaling up dangerously; that silver streak in the shadow of the forest is the ``break'' from a new snag, and he has located himself in the very best place he could have found to fish for steamboats; that tall dead tree, with a single living branch, is not going to last long, and then how is a body ever going to get through this blind place at night without the friendly old landmark?
No, the romance and the beauty were all gone from the river. All the value any feature of it had for me now was the amount of usefulness it could furnish toward compassing the safe piloting of a steamboat. Since those days, I have pitied doctors from my heart. What does the lovely flush in a beauty's cheek mean to a doctor but a ``break'' that ripples above some deadly disease? Are not all her visible charms sown thick with what are to him the signs and symbols of hidden decay? Does he ever see her beauty at all, or doesn't he simply view her professionally, and comment upon her unwholesome condition all to himself? And doesn't he sometimes wonder whether he has gained most or lost most by learning his trade?
- Life on the
Use these general resource documents and activities to help increase your success in this course. Some content requires software plugins. Visit our Plugin Help Centerfor help with downloading plugins.
|The College Writer Online Readings|
The College Writer Online Readings are a collection of readings that provide professional examples of narrative and descriptive writing; analytical writing; persuasive writing; and letters, reports, and reviews. (NOTE: New users must have a passkey to view this feature.)
|Associated Press Interactives|
The Associated Press Interactives are a collection of multimedia news reports designed to develop visual literacy and critical thinking skills. Each interactive report includes a context-building introduction and follow-up questions. (NOTE: New users must have a passkey to view this feature.)
Click for more models of student essays.
Try out these interactive journal activities for writing practice.
|Internet Research Guide|
Use this guide for tips, practice exercises, and advice in your online research.
|Plagiarism Prevention Zone|
Confused about what constitutes copying? Click here for tutorials on avoiding plagiarism and other tools.
|Publishing Your Work|
Look here for venues that accept student papers, advice on submitting your work.
|100 Words to Know|
Increase your vocabulary using these flashcards derived from The American Heritage College Dictionary list of the top 100 words you should know.
We live in an information age, much of which is received visually. From the headlines, weather, and stock quotes that trail across our television screens to the web sites through which we search the Internet, we have a constant stream of incoming images. Some of these images loop endlessly, such as the image of a plane crashing into the World Trade Center, omnipresent in the back of our minds like ghostly shadows. Many of us stare at computer screens all day long, breaking up our view of corporate spreadsheets with quick clicks to view our favorite web sites. Glossy advertising images pervade print, television, and the Web. Posters in stores, direct mail in our mailboxes, and photographs in newspapers and magazines are part of our daily visual environment. Logos have even become so important that two Houston artists made a career for a year out of wearing suits emblazoned with corporate logos and parading their attire in urban locations. Movies suffuse our lives 24/7, both on our home sets and through video rentals. Digital photography is so easy that even children are able to upload images to the Web. In addition to this daily barrage, artists heighten our awareness of this visual environment through their own interpretation of it.
Learning about seeing, or how images are composed or designed, is now an important part of learning to write. Just as writers plan word by word how each sentence is shaped, and paragraph by paragraph how the whole essay is constructed, artists and designers compose. Advertisers decide if there should be a story implied by their ad. Web designers decide which colors to use, and how much white space, and how easy the navigation menu is for the user. Photographers decide how to compose what they see and what should be included and what left out of an image.
"Seeing" is different than just "looking." "Seeing" includes both "looking," that is simple observation of what is in front of you, andinterpreting, that is developing and then answering questions that lead to a possible explanation of the meaning of what you looked at. Seeing always start with careful observation, a skill you can actually practice. By developing this skill, you will also develop questions about what you observe. From these questions emerges your own interpretation of the meaning or significance of what you observe. Writing provides the opportunity to explore your interpretation.
Norman MacLean once described how we learn to think in a series of steps that are the same as how we learn to "see":
All there is to thinking is seeing something noticeable, which makes you see something you weren't noticing, which makes you see something that isn't visible. A River Runs Through ItLearning to write is about learning to think, just as learning to "see" our visual environment is also about learning to think critically, or interpret it. Being visually literate is as empowering as being verbally literate. You control your experience when you choose to think about what you have observed. Your visualexperience becomes a rich opportunity to make meaning, to swim in the lively waters of experience rather than to swept away by them.
Art Activity #1: Is the Web Merely an Oversized Mall?
Art Activity #2: The Spectacle of War
Art Activity #3: Man Today; Boy Tomorrow? Standing on The Edge
Art Activity #4: American Icons at Home and Abroad
Art Activity #5: Web 101? What You See and What You Say
Art Activity #6: Of Mice and Cats, and the Nazis
Beginning the Writing Process
Forming Your Thesis Statement
Opening Your Draft
Developing the Middle
Ending Your Draft
Revising Your Voice and Style
Using the Writing Center
Avoiding Imprecise, Misleading, and Biased Words
Also, for help with specific word-choice challenges like wordiness, take this quiz.
Proofreading Your Writing
Improve Your Grade
Work with these documents and activities to master chapter learning objectives. Some content requires software plugins. Visit our Plugin Help Center for help with downloading plugins.
|Step-by-Step Writing Assignments|
Several mini-assignments will walk you through the writing process
Reinforce your critical viewing skills with visual activities.
This game is a fun way to help you learn how to revise an essay into a unified and coherently organized whole.
These pop-up annotations demonstrate how essays can be read critically.
I have a spelling checker -
It came with my PC.
It plane lee marks four my revue
Miss steaks aye can knot sea.
Eye ran this poem threw it,
Your sure reel glad two no.
Its vary polished in it's weigh,
My checker tolled me sew.
A checker is a bless sing,
It freeze yew lodes of thyme.
It helps me right awl stiles two reed,
And aides me when aye rime.
To rite with care is quite a feet
Of witch won should be proud.
And wee mussed dew the best wee can,
Sew flaws are knot aloud.
And now bee cause my spelling
Is checked with such grate flare,
Their are know faults with in my cite,
Of nun eye am a wear.
Each frays come posed up on my screen
Eye trussed to bee a joule
The checker poured o'er every word
To cheque sum spelling rule.
That's why aye brake in two averse
By righting wants too pleas.
Sow now ewe sea why aye dew prays
Such soft wear for pea seas!
Instructional Materials and References:
FEET: What do I stand for as a foundation of writing?
STOMACH: What upsets me about writing?
HEART: What do I love about writing?
HANDS: What do I feel about writing?
EARS: What do I hear about writing?
EYES: What do I see about writing?
BRAIN: What do I think about writing?
(Line 2) Three or four adjectives that describe the person
(Line 3) Important relationship (daughter of . . . , mother of . . . , etc)
(Line 4) Two or three things, people, or ideas that the person loved
(Line 5) Three feelings the person experienced
(Line 6) Three fears the person experienced
(Line 7) Accomplishments (who composed . . . , who discovered . . . , etc.)
(Line 8) Two or three things the person wanted to see happen or wanted to experience
(Line 9) His or her residence
(Line 10) Last name
Determined, brave, strong, loving
Wife of Raymond Parks, mother of all children
Who loved equality, freedom, and the benefits of a good education
Who hated discrimination, loved to stand up for her beliefs, and loved to help others
Who feared that racism would continue, feared losing the opportunity to make a difference, and feared that young people might lose opportunities to develop strength and courage
Who changed history as she accomplished great strides for equality and encouraged excellence for all
Who wanted to see love triumph and see an end to all bias and discrimination in a world in which respect is freely given to all
Born in Alabama and living in Detroit
From Abromitis, B.S. (1994, June/July). Bringing lives to life. Biographies in reading and the content areas. Reading Today, 11, 26. Reprinted with permission of the publisher and author.
Copyright 2004 IRA/NCTE. All rights reserved
Fall 2010 -- Thursdays 9:00 -11:45
Prerequisite/Co-requisite Courses: None
Instructor: Dr. Sylvia Y. Schoemaker Rippel
Office Hours: T-Th 11:45-12:30 and by arrangement
Unit 1 Introduction
Introductory Essay: Consider each of the following contexts: Personal (family), Social (culture, home country), Professional (economic now/future), Universal (philosophical, goals, definition of success)
Where do you stand? (feet, stomach, heart, ears, eyes, hands, brain)
Unit 1 Essay Due
Unit 2: Language, Literature, Art, Music, Humanities Focus
Media: Story of English; Do You Speak American?
The College Writer (TCW), C24, Writing about Literature and the Arts
Literary Analysis (TCW, 357), oral presentations (TCW, 319), web writing (TCW, 399) http://www.wisc.edu/writing/Handbook/ReadingPoetry.html
TCW, C25, Academic Essays
Unit 2 Paper Due
Unit 3 Social Sciences Focus
TCW, C26, Writing for the Workplace
C27 Writing and Designing in the Web Business, Economics America at Work APA Format, C34 Abstracts/summaries(538,540,550) Research C29-32,
Experiment report (TCW, 341), observation report (TCW, 319), research paper(TCW, 423) Unit 3 Paper Due
Unit 4 Cosmos Physical Sciences
Nature/ Ecology Microcosmos Field Report (TCW, 341), research paper (TCW, 423)
Review; Presentations Conclusion
Unit 4 Paper Due
59 or <