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AERLINN(Sindarin, aer+ lin, "ocean-song," sometimes spelled aerlin): As part of his , Tolkien sought to fill out his imaginary words with complete histories, mythologies, and poetic traditions. Accordingly, he invented the aerlinn, an imaginary genre of Elvish poetry that Tolkien devised to be background for The Lord of the Rings. Aerlinns are with a seven-line stanza-structure rhyming aababcc. The form may be loosely inspired by the seven-line stanza invented by Chaucer in the fourteenth century that later came into its own as . The aerlinn's conventional theme would be a or an , usually to Elbereth or another of the . Tolkien's etymology for the word aerlinn connects the idea of holiness with the ocean. In his , the potentially immortal Elves eventually suffer a sea-longing. They feel a compulsion that calls them to sail over the western sea to join the Valar and leave behind the world of men. Below is a sample aerlinn in Elvish from the end of chapter one, "Merry Meetings," in The Two Towers:

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ASTERISM: A rather obscure punctuation mark to most modern users, an asterism consists of a triangle of three tiny asterisks, two on the bottom of a line, and one centered above those two. Textual editors used to insert the asterism to indicate that a small spot in a manuscript was damaged or missing. Most modern editors simply insert a line of asterisks or use ellipses to indicate these lacunae in modern editions. To create an asterism on a PC, the uniform code is U+2042, though no keystroke exists on the keyboard itself.

ACYROLOGIA: Also called acyrology, see discussion under .

ATLANTIS MYTH: A motif common in mythology in which an ancient, wise, or powerful civilization once existed in a past golden age but floods destroyed it. Plato popularized the myth in his works Timeaus and Critias, where he describes the arrogant island of Atlantis as an adversary of Greek civilization 9,000 years before his own day, but the gods disfavor the island's , and they submerge it into the Atlantic Ocean. Although Plato's references are brief, they have inspired some archeologists to link it with the Island of Thera (which was destroyed by volcanic erruption that triggered tidal waves devastating Minoan civilization in 1900 BCE). Likewise, they have inspired fiction writers to produce a number of later fantastic works. The allegorical aspects of the island influence Francis Bacon's New Atlantis, Thomas More's Utopia, and Stephen Lawhead's Taliesin. Among the Inklings, it plays a part in C.S. Lewis's The Magician's Nephew, where dust from Atlantis serves as a component of magical rings, as well as in Lewis's space trilogy. C.S. Lewis also uses it as a comparison to being overwhelmed by grief in his autobiography, Surprised by Joy. Charles Williams plays with the motif in Taliessin Through Logres. Other like J.R.R. Tolkien use the myth indirectly, as Tolkien uses it as an analogue in The Silmarillion, in which Númenor was a huge island in the Sundering Sea, west of Middle-Earth. These Númenorians grew obsessed with the search for immortality, and eventually their culture died when their island sank. In medieval legends, other analogues to the Atlantis myth include the legends of Logres and Lyonesse (which medieval tales located in the Atlantic Ocean southwest of Cornwall and Landsend), and older appear in Mesopotamian and Hebrew myth such as in the Old Testament accounts of the flood. A common erroneous claim is that flood myths are universal world-wide, though it actual point of fact, legends in which the world or a civilization die in floods primarily appear in cultures in geographic areas subject to regional flooding. Areas without such flooding do not tend to have Atlantis myths or flood myths.

ACCENTUAL VERSE: A verse pattern used heavily in Russian and Czech literature. More information TBA
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AESOPIC LANGUAGE: In Russian criticism, the name for oppositional political writing hidden in circumlocution, fables, and vague references so that it can bypass official censorship (Harkins 1). The term refers to Aesop's Fabula, a collection of beast fables in which simple stories about animals contained morals or messages "between the lines," so to speak. The coinage of the term comes from Saltykov, who is both the first to use the term in this sense and the one whom many modern Russian critics consider the best example of such writings (Harkins 1).

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AUGUSTINIAN TIME: Saint Augustine's idea of eternity, in which eternity and the afterlife are not an endless linear continuation--like a book with infinite pages or a story that never ends--but rather a state of timelessness, in which no time ever passes at all--a frozen snapshot of joy that lasts forever but which cannot undergo progression, alteration, or further development. Augustine inherited a tradition in Greek philosophy in which perfection would be an absolute. If something is perfect, by definition it cannot be improved further. Thus, any change that occur in a state of perfection would render that state imperfect. But if change happened to God or to heaven, wouldn't that force the already-perfect state to become imperfect?

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Many Anglo-Saxon charms may have been apotropaic chants.

AZBUKA: The alphabet derived from Old Church Slavonic language, common in Russian and other slavic languages, alias the Cyrillic alphabet. See .