How to Write a Paragraph Essay Example for Free

How to Write a Paragraph Essay Writing a paragraph does not simply involve throwing words into the pool, hoping that it would create something meaningful. One must first create an outline in order to organize the scattered ideas before dedicating words into the paragraph. When writing a paragraph, one must start off with a â€Å"hook† sentence which can attract readers and encourage them to read more. That would be applicable to the introductory paragraph only. The succeeding paragraphs should contain a topic sentence rather than the â€Å"hook† sentence. After every topic sentence, the writer should support it with ideas that are related to the topic sentence’s idea. This actually composes the body of the paragraph. This part of the paragraph should be clear and concise. The writer must not use wordy sentences since it takes up a lot of space. Finally, one must conclude each paragraph by summarizing the ideas into one sentence and creating a transitional sentence which can relate the paragraph to the next. For introductory paragraphs, the last sentence should be the thesis statement of the whole paper. So when writing a paragraph, the writer should always start with an outline to organize his or her scattered ideas. This is where every paragraph should begin.

Rhetorical Figures in Leda and the Swan Essay -- Leda and the Swan Ess

Rhetorical Figures in Leda and the Swan   Ã‚   "Leda and the Swan," a sonnet by William Butler Yeats, describes a rape.   According to Perrine, "the first quatrain describes the fierce assault and the foreplay; the second quatrain, the act of intercourse; the third part of the sestet, the sexual climax" (147).   The rape that Yeats describes is no ordinary rape: it is a rape by a god.   Temporarily embodied in the majestic form of a swan, Zeus, king of the gods, consummated his passion for Leda, a mortal princess (Perrine 147).   The union produced two offspring: Helen of Troy and Clytemnestra, Agamemnon's wife.   In recounting this "momentous rape" with "large consequences for the future," (Perrine 147) Yeats uses rhetorical figures in each of the sonnet's three stanzas.    The figures in the first stanza create tension and portray the event.   All definitions for the rhetorical figures mentioned in this essay are derived from Lanham's A Handlist of Rhetorical Terms.   Yeats opens with an example of brachylogia, brevity of speech.   His elliptical fragment, "A sudden blow," recreates the stunning impact and tension of the assault.   The poet uses alliteration in the form of consonance: the plosive "b" first found in "blow" subtly batters the ear throughout the quatrain--"beating," "bill," and "breast," which occurs twice; the initial "g" found in "great" echoes in "girl"; and an initial "h" repeats in "her," which occurs three times, "he," "holds," "helpless," and "his".   Yeats ends the first line with "beating still," an example of anastrophe, a kind of hyperbaton, the unusual arrangement of words or clauses within a sentence, frequently for poetic effect.   The figure not only creates tension through arrangement but also throug... ...idled sexual passion, the coexistence of power and wisdom in human life, and the potential for combining youthful vitality and passion with mature knowledge and wisdom.    Works Cited Lanham, Richard A.   A Handlist of Rhetorical Terms.   2nd ed.   Berkeley: U of California P.   1991.   1-161. Perrine, Laurence.   Instructor's Manual to Accompany Literature: Structure, Sound, and Sense.   4th ed.   New York: Harcourt.   1983.   147-48. Yeats, William Butler.   "Leda and the Swan." Literature: Structure, Sound, and Sense.   4th ed.   Ed. Laurence Perrine.   New York: Harcourt.   1983.   636 The Spiritual Marriage of Maud Gonne and W.B Yeats (excerpt from Women of the Golden Dawn: Rebels and Priestesses by Mary K. Greer--an account of Yeats's fascination with the beautiful Irish revolutionary Maud Gonne, who inspired his greatest poetry and plays))   

Writing a Formal Letter/Example

Dear Mr. Patel, According to your interview, we understand that you are strictly against the usage of cellphones despite the fact that there are many good reasons to use them . I wanted to say that I both agree and disagree with your opinions at different points. At the beggining of the interview, you mentioned people’s attention was taken away from the substantial things in life and also claimed that the dissapointment of not recieving any texts made them upset or rather neurotic.Afterwards continued with remarking cellphones are somewhat compelling and said they threaten our lifes if used whilst driving. Also pointed out the common puctuation error which children make because of the language they use when they write a text and said there were distractions in classes and alleged the use of cellphones as a reason. You told the interviewer cellphones assaulted one’s privacy and solitude and people looked silly whilst talking with cellphones then declared that you would r ather be without a cellphone.The interviewer stated some opinions of his, converse to your opinions. Disagreeing with the opinions againt the usage of cellphones, he affirmed that it was essential four communicating with one’s children and informing people if one’s car broke down or is going to delay. He added there were not many telephone land lines in some places such as Africa, which made cellphones useful. Then ended his words with saying cellphones have a great role in solving crime.Whilst I agree with half of your opinions such as texting and driving threatens lifes and they ruin our peace and solitude, I do not agree with you on your opinions of children distraction. Although most of the children use cellphone, not all of them are distracted or making punctuation mistakes. Before being this prejudiced about cellphones, please consider the advantages of them. It might be the best to try reduce the usage without utterly rejecting them. Yours sincerely Related essay: â€Å"Co Curricular Activities Letter†

The Historical Use of the Mercury Mineral, Cinnabar

Cinnabar, or mercury sulphide (HgS), ​is a highly toxic, naturally occurring form of the mercury mineral, which was used in the ancient past for producing a bright orange (vermillion) pigment on ceramics, murals, tattoos, and in religious ceremonies. Cinnabars Earliest Use The primary prehistoric use of the mineral was grinding it to create vermillion, and its earliest known use for this purpose is at the Neolithic site of Çatalhà ¶yà ¼k in Turkey (7000-8000 BC), where wall paintings included cinnabars vermillion. Recent investigations in the Iberian peninsula at the Casa Montero flint mine, and burials at La Pijotilla and Montelirio suggest the use of cinnabar as a pigment beginning approximately 5300 BC. Lead isotope analysis identified the provenance of these cinnabar pigments as coming from the Almaden district deposits. In China, the earliest known use of cinnabar is the Yangshao culture (~4000-3500 BC). At several sites, cinnabar covered the walls and floors in buildings used for ritual ceremonies. Cinnabar was among a range of minerals used to paint Yangshao ceramics, and, at Taosi village, cinnabar was sprinkled into elite burials. Vinca Culture (Serbia) The Neolithic Vinca culture (4800-3500 BC), located in the Balkans and including the Serbian sites of Plocnik, Belo Brdo, and Bubanj, among others, were early users of cinnabar, likely mined from the Suplja Stena mine on Mount Avala, 20 kilometers (12.5 miles) from Vinca. Cinnabar occurs in this mine in quartz veins; Neolithic quarrying activities are attested here by the presence of stone tools and ceramic vessels near ancient mine shafts. Micro-XRF studies reported in 2012 (Gajic-KvaÃ… ¡cev et al.) revealed that paint on ceramic vessels and figurines from the Plocnik site contained a mixture of minerals, including high purity cinnabar. A red powder filling a ceramic vessel discovered at Plocnik in 1927 was also found to include a high percentage of cinnabar, likely but not definitively mined from Suplja Stena. Huacavelica (Peru) Huancavelica is the name of the largest mercury source in the Americas, located on the eastern slope of the Cordillera Occidental mountains of central Peru. Mercury deposits here are the result of Cenozoic magma intrusions into sedimentary rock. Vermillion was used to paint ceramics, figurines, and murals and to decorate elite status burials in Peru in a range of cultures including Chavà ­n culture (400-200 BC), Moche, Sican, and the Inca empire. At least two segments of the Inca Road lead to Huacavelica. Scholars (Cooke et al.) report that mercury accumulations in nearby lake sediments began rising about 1400 BC, probably the result of the dust from cinnabar mining. The main historic and prehistoric mine at Huancavelica is the Santa Barbà ¡ra mine, nicknamed the mina de la muerte (mine of death), and it was both the single largest supplier of mercury to the colonial silver mines  and the major source of pollution in the Andes even today. Known to have been exploited by the Andean empires, large-scale mercury mining began here during the colonial period after the introduction of mercury amalgamation associated with the extraction of silver from low-grade ores. Amalgamation of poor quality silver ores using cinnabar was begun in Mexico by Bartolomà © de Medina in 1554. This process involved smelting the ore in grass-fired, clay-lined retorts until vaporization yielded gaseous mercury. Some of the gas was trapped in a crude condenser, and cooled, yielding liquid mercury. Polluting emissions from this process included both the dust from the original mining  and the gasses released into the atmosphere during smelting. Theophrastus and Cinnabar Classical Greek and Roman mentions of cinnabar include that of Theophrastus of Eresus (371-286 BC), a student of the Greek philosopher Aristotle. Theophrastus wrote the earliest surviving scientific book on minerals, De Lapidibus, in which he described an extraction method to get quicksilver from cinnabar. Later references to the quicksilver process appear in Vitruvius (1st century BC) and Pliny the Elder (1st century AD). Roman Cinnabar Cinnabar was the most expensive pigment used by the Romans for extensive wall paintings on public and private buildings (~100 BC-300 AD). A recent study on cinnabar samples taken from several villas in Italy and Spain were identified using lead isotope concentrations, and compared with source material in Slovenia (the Idria mine), Tuscany (Monte Amiata, Grosseto), Spain (Almaden) and as a control, from China. In some cases, such as at  Pompeii, the cinnabar seems to have come from a specific local source, but in others, the cinnabar used in the murals was blended from several different regions. Poisonous Medications One use of cinnabar not attested in archaeological evidence to date, but which may have been the case prehistorically is as traditional medication or ritual ingestion. Cinnabar has been used for at least 2,000 years as part of Chinese and Indian  Ayurvedic  medicines. Although it may have some beneficial effect on some illnesses, human ingestion of mercury is now known to produce toxic damage to kidney, brain, liver, the reproductive systems, and other organs. Cinnabar is still used in at least 46 traditional Chinese patent medicines today, making up between 11-13% of Zhu-Sha-An-Shen-Wan, a popular over-the-counter traditional medicine for insomnia, anxiety, and depression. That is about 110,000 times higher than allowable cinnabar dose levels according to the European Drug and Food Standards: in a study on rats, Shi et al. found that ingestion of this level of cinnabar does create physical damage. Sources Consuegra S, Dà ­az-del-Rà ­o P, Hunt Ortiz MA, Hurtado V, and Montero Ruiz I. 2011.  Neolithic and Chalcolithic--VI to III millennia BC--  In: Ortiz JE, Puche O, Rabano I, and Mazadiego LF, editors.  History of Research in Mineral Resources.  Madrid: Instituto Geolà ³gico y Minero de Espaà ±a. p 3-13.use of cinnabar (HgS) in the Iberian Peninsula: analytical identification and lead isotope data for an early mineral exploitation of the Almadà ©n (Ciudad Real, Spain) mining district. Contreras DA. 2011.  How far to Conchucos? A GIS approach to assessing the implications of exotic materials at Chavà ­n de Huà ¡ntar.  World Archaeology  43(3):380-397. Cooke CA, Balcom PH, Biester H, and Wolfe AP. 2009.  Over three millennia of mercury pollution in the Peruvian Andes.  Proceedings of the National Academy of Sciences  106(22):8830-8834. Gajic-KvaÃ… ¡cev M, Stojanovic MM, Ã…  mit Ã… ½, Kantarelou V, Karydas AG, Ã…  ljivar D, Milovanovic D, and Andric V. 2012.  New evidence for the use of cinnabar as a   Journal of Archaeological Science  39(4):1025-1033.colouring pigment in the Vinca culture. Mazzocchin GA, Baraldi P, and Barbante C. 2008.  Isotopic analysis of lead present in the cinnabar of Roman wall paintings from the Xth   Talanta  74(4):690-693.Regio (Venetia et Histria) by ICP-MS. Shi J-Z, Kang F, Wu Q, Lu Y-F, Liu J, and Kang YJ. 2011.  Nephrotoxicity of mercuric chloride, methylmercury and cinnabar-containing Zhu-Sha-An-Shen-Wan in rats.  Toxicology Letters  200(3):194-200. Svensson M, Dà ¼ker A, and Allard B. 2006.  Formation of cinnabar—estimation of   Journal of Hazardous Materials  136(3):830-836.favourable conditions in a proposed Swedish repository. Takacs L. 2000.  Quicksilver from cinnabar: The first documented mechanochemical reaction?  JOM Journal of the Minerals, Metals   52(1):12-13.and Materials Society