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Old Wednesday, June 01, 2016
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Default Kindly check my precis Seniors especially CSPs...!!

Kindly check my precis seniors (especially csps) as i've not joined any academy and looking forward for guidelines. I'll be grateful to you.!

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The essence of poetry is that it deals with events which concern a large number of people and can be grasped not as immediate personal experience but as matter known largely from heresy and presented in simplified and often abstract forms. It is thus the antithesis of all poetry which deals with the special, individual activity of the sell and tries to present this as specially and as individually as it can. The poet who deals with public themes may himself be affected, even deeply, by contemporary events at some point in his own being, but to see them in their breadth and depth he must rely largely on what he hears from other men and from mass instruments of communication. From the start his impulse to write about them is different from any impulse to write about his own affairs. It may be just as strong and just as compelling, but it is not of the same kin(. fie has to give his own 'version of something which millions of others may share with him, and however individual he may wish to be, he cannot avoid relying to a large extent on much that he knows only from second hand.
Fundamentally this may not matter, for after all what else did Shakespeare do : but the political poet does not construct an imaginary past. he attempts to grasp and interpret a vast present. Between him and his subject there is a gap which he can never completely cross, and all his attempts to make events part of himself must be to some extent hampered by recalcitrant elements in them, which he does not understand or cannot assimilate or find irrelevant to his creative task. In, such poetry selection which is indispensable to all art, has to be made from an unusually large. field of possibilities and guided by an exacting sense of what fully matters and what does not. On one side he may try to include too much and lose himself in issues where he is not imaginatively at home, on the other side he may see some huge event merely from a private angle which need not mean much to others. Political poetry oscillates between these extremes, and its history in our time has been largely attempts to make the best of one or the other of them or to see what compromises can he made between them.


Precis:


The gist of the poetry is that it represents those events which concern with numerous people in simplified and generalized forms. In this sense, a poet has to rely upon other sources as well along with his individual viewpoint. He enunciates what he shares with others. Additionally, a political poet understands and elaborates present events instead of imaginative past. But there remains a crevice between him and his subject owing to incomprehensibility of events. Moreover, in such sort of poetry, selection of relevant possibilities is also crucial. Hence, political poetry lies in between these two extremes, individuality and collective thinking, and presently there is focus on making the best use of anyone of the two or considering both.

Title:
Dilemma in writing political poetry
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Old Saturday, June 04, 2016
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What virtues must we require of a man to whom we entrust directing of our affairs? Above all, a sense of what is possible. In politics it is useless to formulate great and noble projects if, due to the existing state of the country, they cannot be accomplished. The impulses of a free people are at all times a parallelogram of forces. The great statesman realizes precisely what these forces are and says to himself without ever being seriously mistaken: "I can go just so far and no farther.” He does not allow himself to favour one class, foreseeing the inevitable reactions of the neglected groups. A prudent doctor does not cure his patient of a passing complaint with a remedy that produces a permanent disease of the liver, and a judicious statesman neither appeases the working class at the risk of angering the bourgeoisie, nor does he indulge the bourgeoisie at the expense of the working class. He endeavours to regard the nation as a great living body whose organs are interdependent. He takes the temperature of public opinion every day, and if the fever increases he sees to it that the country rests.
Though he may fully appreciate the power of public opinion, a forceful and clever statesman realizes that he can influence it fairly easily. He has calculated the people’s power to remain indifferent to his efforts, they have their moment of violence, and their angry protests are legitimate if the Government brings poverty on them, takes away their traditional liberty, or seriously interferes with their home life. But they will allow themselves to be led by a man who knows where he is going and who shows them clearly that he has the nation’s interest at heart and that they may have confidence in him.
The sense of what is possible is not only the ability to recognize that certain things are impossible — a negative virtue — but also to know that, a- courageous man, things which appear to be very difficult are in fact possible. A great statesman does not say to himself: “This nation is weak”, but “This nation is asleep: I shall wake it up. Laws and institutions are of the people’s making, if necessary, I shall -change them.” But above all, the determination to do something must be followed by acts, not merely words. Mediocre politicians spend most of their time devising schemes and preaching doctrines. They talk of structural reforms, they invent faultless social systems and formulate plans for perpetual peace. In his public speeches the true statesman knows how, if necessary, to make polite bows to new theories and to pronounce ritualistic phrases for the benefit of those who guard temple gates, but he actually occupies himself by taking care of the real needs of the nation. He endeavours to accomplish definite and precise objectives in ways that seem best to him. If he finds obstacles in his path, he makes detours.
Vanity, intellectual pride, and a feeling for system are serious handicaps to the politician. Some party leaders are ready to sacrifice the country for a theory or a set of principles. The true leader says: “Let the principles go but I must save the nation.”
Precis:
Sense of possibility is one of the important virtues of statesman. Unlike a politician, a statesman realizes the forces behind the desires of public and finds what he can do for them. He does what is good for the nation as a whole. He foresees the nation like interdependent organs of body. Moreover, he considers the opinion of the people as well and thinks that he can influence it. He knows that people trust the person who gives priority to nation’s interests. Along with it, the sense of possibility also accounts for those things which are difficult but in fact possible. He doesn’t complain rather he awakes his nation from sleep. Moreover, action is equally important as determination. Ordinary politicians only bluff while a genuine statesman reacts according to the desires of his people. Vanity, pride and a feeling of system are detrimental for the politician. Some party leaders sacrifice the country for principles while a true leader abandons principles for country.

Title:
Sense of Possibility and a Statesman
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Old Monday, June 06, 2016
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Originally Posted by Awesum Farhan View Post
Kindly check my precis seniors (especially csps) as i've not joined any academy and looking forward for guidelines. I'll be grateful to you.!

Paragraph:
The essence of poetry is that it deals with events which concern a large number of people and can be grasped not as immediate personal experience but as matter known largely from heresy and presented in simplified and often abstract forms. It is thus the antithesis of all poetry which deals with the special, individual activity of the sell and tries to present this as specially and as individually as it can. The poet who deals with public themes may himself be affected, even deeply, by contemporary events at some point in his own being, but to see them in their breadth and depth he must rely largely on what he hears from other men and from mass instruments of communication. From the start his impulse to write about them is different from any impulse to write about his own affairs. It may be just as strong and just as compelling, but it is not of the same kin(. fie has to give his own 'version of something which millions of others may share with him, and however individual he may wish to be, he cannot avoid relying to a large extent on much that he knows only from second hand.
Fundamentally this may not matter, for after all what else did Shakespeare do : but the political poet does not construct an imaginary past. he attempts to grasp and interpret a vast present. Between him and his subject there is a gap which he can never completely cross, and all his attempts to make events part of himself must be to some extent hampered by recalcitrant elements in them, which he does not understand or cannot assimilate or find irrelevant to his creative task. In, such poetry selection which is indispensable to all art, has to be made from an unusually large. field of possibilities and guided by an exacting sense of what fully matters and what does not. On one side he may try to include too much and lose himself in issues where he is not imaginatively at home, on the other side he may see some huge event merely from a private angle which need not mean much to others. Political poetry oscillates between these extremes, and its history in our time has been largely attempts to make the best of one or the other of them or to see what compromises can he made between them.


Precis:


The gist of the poetry is that it represents those events which concern with numerous people in simplified and generalized forms. In this sense, a poet has to rely upon other sources as well along with his individual viewpoint. He enunciates what he shares with others. Additionally, a political poet understands and elaborates present events instead of imaginative past. But there remains a crevice between him and his subject owing to incomprehensibility of events. Moreover, in such sort of poetry, selection of relevant possibilities is also crucial. Hence, political poetry lies in between these two extremes, individuality and collective thinking, and presently there is focus on making the best use of anyone of the two or considering both.

Title:
Dilemma in writing political poetry
Dude, Your precis is quite commendable and attention-gaining, But still you got some major flaws,
But sooner or later you would progress hence grab some more precis there is a huge material out there !!!
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Old Friday, July 22, 2016
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Smile Please evaluate my precis

PRECIS 2001
ORIGINAL TEXT:
It was not from want of perceiving the beauty of external nature but from the different way of perceiving it, that the early Greeks did not turn their genius to portray, either in colour or in poetry, the outlines, the hues, and contrasts of all fair valley, and hold cliffs, and golden moons, and rosy lawns which their beautiful country affords in lavish abundance.

Primitive people never so far as I know, enjoy when is called the picturesque in nature, wild forests, beetling cliffs, reaches of Alpine snow are with them great hindrances to human intercourse, and difficulties in the way of agriculture. They are furthermore the homes of the enemies of mankind, of the eagle, the wolf, or the tiger, and are most dangerous in times of earthquake or tempest. Hence the grand and striking features of nature are at first looked upon with fear and dislike.

I do not suppose that Greeks different in the respect from other people, except that the frequent occurrence of mountains and forests made agriculture peculiarly difficult and intercourse scanty, thus increasing their dislike for the apparently reckless waste in nature. We have even in Homer a similar feeling as regards the sea, --- the sea that proved the source of all their wealth and the condition of most of their greatness. Before they had learned all this, they called it “the unvintagable sea” and looked upon its shore as merely so much waste land. We can, therefore, easily understand, how in the first beginning of Greek art, the representation of wild landscape would find no place, whereas, fruitful fields did not suggest themselves as more than the ordinary background. Art in those days was struggling with material nature to which it felt a certain antagonism.

There was nothing in the social circumstances of the Greeks to produce any revolution in this attitude during their greatest days. The Greek republics were small towns where the pressure of the city life was not felt. But as soon as the days of the Greeks republics were over, the men began to congregate for imperial purposes into Antioch, or Alexandria, or lastly into Rome, than we seek the effect of noise and dust and smoke and turmoil breaking out into the natural longing for rural rest and retirement so that from Alexander’s day …… We find all kinds of authors --- epic poets, lyricist, novelists and preachers --- agreeing in the precise of nature, its rich colours, and its varied sounds. Mohaffy: Rambles in Greece

PRECIS:

Ancient Greeks were indifferent towards graphic natural scenary of their region.Early people perceive dazzling nature as obstacle in thier mobility and pitfall in agriculture in addition to being home to wild animals and prone to natural disasters. Thus,it raised fear and hatred.The writer found the Greeks to be no exception in this case.Before they explored the marvells of the nature, they showed a peculiar detest towards nature as evident from their epics.That is why there was no mention of natural beauty in early Greek art.As soon as Greek republics vanished and urbanization got roots, solace provided by nature was realized and hence chanted by Greek legends and scholars.
EQUATION: ORIGINAL WORDS IN TEXT/3=WORDS IN PRECIS
305/3=102 WORDS.

TITLE: EVOLUTION OF ROMANTISM IN GREEK ARTS.
---- HIRA AYMAN
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