AOA,
I am reserving this thread for precis writing 2013. PLz cooperate and help me to prepare the precis. I am requesting to all respected members to post their precis here for preparing precis. I am posting my precis here. Plz check it and participate on this thread.

.Make a precise of the following passage in about one third of its length and suggest a suitable heading. (20)

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
Plz check my precis of the above passage.

Precis:
The early Greeks had different thaughts of nature, and that is why the disliked the vastness of nature.They were fear of animals, forests and seas. The fear was not unusual while the differnce of early men with the latter men was that the they started to consider beauty of nature mere wasteful. They did not enjoy by utilizing them, as a result they were ignorant of their worthy. in the latter case, men built great buildings, indeed they became tired of smoke.As a result they enjoy the nature and even adapt nature and produced great works.

I want to ask whether we have to write precis step by step as discussed in paragraph or we can summarize it and arrange it in our own way....so that to make a better understanding of precis??

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The only thing necessary for the triumph of evil is for Good Men to do Nothing....

you should vocabulary of your own but the sequence should be tha same as of the original passage

kindly do help me out that from where i should start my preparation for precis writing ?

AOA,
You should start your preparation by writing precis of small paragraphs. After wring 3 or 4 times you may start to solve past papers precis. Although you can find difficulty but underline the words which are confusing. Then u can also see the meanings of those words. You should read paragraph at least 3 times so that u can grasp the whole and real idea of given paragraph before writing precis.

One of the most ominous and discreditable symptoms of the want of candour in present-day sociology is the deliberate neglect of the population question. It is or should be transparently clear that if the State is resolved, on humanitarian grounds, to inhibit the operation of natural selection, some rational regulation of population, both as regards quantity and quality, is
imperatively necessary. There is no self-acting adjustment, apart from starvation, of numbers to the means of subsistence. If all natural checks are removed, a population in advance of the optimum number will be produced, and maintained at the cost of a reduction in the standard of living. When this pressure begins to be felt, that section of the population which is capable of reflection, and which has a standard of living which may be lost, will voluntarily restrict its numbers, even to the point of failing to replace deaths by an equivalent number of new births; while the underworld, which always exists in every civilised society the failures and misfits and derelicts, moral and physical will exercise no restraint, and will be a constantly increasing drain upon the national resources. The population will thus be recruited, in a very undue proportion, by those strata of society which do not possess the qualities of useful citizens.

The importance of the problem would seem to be sufficiently obvious. But politicians know that the subject is unpopular. The unborn have no votes. Employers like a surplus of labour, which can be drawn upon when trade is good. Militarists want as much food for powder as they can get. Revolutionists instinctively oppose any real remedy for social evils; they know that every unwanted child is a potential insurgent. All three can appeal to a quasi-religious prejudice, resting apparently on the ancient theory of natural rights, which were supposed to include the right of unlimited procreation. This objection is now chiefly urged by celibate or childless priests; but it is held with such fanatical vehemence that the fear of losing the votes which they control is a welcome excuse for the baser sort of politician to shelve the subject as inopportune. The Socialist calculation is probably erroneous; for experience has shown that it is aspiration, not desperation, that makes revolutions.

Precis:
Intellect demands that the question of population overgrowth should not be ignored and appropriate measure must be taken to control the population. If the natural restrains on population are removed, it will grow even more than the available resources. This overgrowth of population will cause a decline in living standard of people and increase in the number of not useful citizens. The question of population overgrowth is insignificant to politicians, militarists and revolutionists for different reasons. They all can argue that posing a limit on number of children a person my have is against the basic rights of human beings. The socialists are at fault while considering that revolution is brought by the quantity of people rather it is the wisdom of few.

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Jab Apna Qafila Azm o Yaqen Se Niklay Ga
Janhan se Chahen Gay Rasta Wahin Se Nikle Ga

excillent attempt

plz suggest a suitable title

Population overgrowth: Its Impact on Society

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Jab Apna Qafila Azm o Yaqen Se Niklay Ga
Janhan se Chahen Gay Rasta Wahin Se Nikle Ga

From Plato to Tolstoi art has been accused of exciting our emotions and thus of disturbing the order and harmony of our moral life.” Poetical imagination, according to Plato, waters our experience of lust and anger, of desire and pain, and makes them grow when they ought to starve with drought. “Tolstoi sees in art a source of infection. “Not only in infection,” he says, “a sign of art , but the degree of infectiousness is also the sole measure of excellence in art.” But the flaw in this theory is obvious. Tolstoi suppresses a fundamental moment of art, the moment of form. The aesthetic experience – the experience of contemplation- is a different state of mind from the coolness of our theoretical and the sobriety of our moral judgment. It is filled with the liveliest energies of passion, but passion itself is here transformed both in its nature and in its meaning. Wordsworth defines poetry as “ emotion recollected in tranquility’. But the tranquility we feel in great poetry is not that of recollection. The emotions aroused by the poet do not belong to a remote past. They are “ here”- alive and immediate. We are aware of their full strength, but this strength tends in a new direction. It is rather seen than immediately felt. Our passions are no longer dark and impenetrable powers; they become, as it were, transparent. Shakespeare never gives us an aesthetic theory. He does not speculate about the nature of art. Yet in the only passage in which he speaks of the character and functions of dramatic art the whole stress is laid upon this point. “ The purpose of playing,” as Hamlet explains, “ both at the first and now, was and is, to hold, as, twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time, his form and pressure.” But the image of the passion is not the passion itself. The poet who represents a passion doest not infected us with this passion. At a Shakespeare play we are not infected with the ambition of Macbeth, with the cruelty of Richard III or with the jealously of Othello. We are not at the mercy of these emotions; we look through them; we seem to penetrate into their very nature and essence. In this respect Shakespeare’s theory of dramatic art, if he had such a theory, is in complete agreement with the conception of the fine arts of the great painters and sculptor.
Solution:
Heading: Impact of Art Work on Human Emotions
Since the time of Plato till Tlostoi, art has been accused of arousing negative emotions in human beings. The critics have only considered the apparent looks of the piece of the artwork to come up with this theory but totally ignored the fact that the mental representation of artwork is completely different. The emotions aroused by a piece of art are different than that of the artist’s, very current in their nature and are perceived in a totally different way. We don’t get intimidated by these presented emotions rather we extract message from them.

__________________
Jab Apna Qafila Azm o Yaqen Se Niklay Ga
Janhan se Chahen Gay Rasta Wahin Se Nikle Ga