You are on page 1of 74

Poetry

Phonetic Expressive Means/ Devices


• are used to produce a certain acoustic (auditory) effect
• To give emphasis to the utterance
• To arouse emotions in the reader or listener.
• In oral speech, intonation and stress are expressed directly
by the speaker.
• In written speech they are conveyed indirectly by graphical
expressive means and by a special syntactical arrangement
of utterance
Euphony
• Is such a combination of words and such an arrangement of
utterance which produces a pleasing acoustic effect
(aesthetics)
• Euphony is generally achieved by means of different sound
devices as:
• alliteration, assonance, consonance, onomatopoeia etc.
• rhythm and rhyme
1. Alliteration

• is a phonetic stylistic device,


• which aims at imparting a melodic effect to the utterance
• by deliberate use of similar consonants in close succession
• is a conventional device of
• like most phonetic expressive devices, it doesn’t bear any
lexical or other meaning, it is only a sort of musical
accompaniment of the utterance
Alliteration - Examples

• Doubting, dreading, dreams no mortals


ever dared to dream before (Poe).
• Is widely used in folklore, proverbs, sayings, traditional
pairs of words:
• out of the frying pan into the fire; safe and sound; as
fit as a fiddle; a pig in a poke; as busy as a bee
• How much wood would a woodchuck chuck if a
woodchuck could chuck wood?
Alliteration: used in
• prose - a strong melodic and emotional effect:
• The possessive instinct never stands still (Galsworthy)
• “Hear the music of voices, the song of a bird, the mighty
strains of an orchestra, as if you would be stricken deaf
tomorrow. Touch each object as if tomorrow your tactile
sense would fail. Smell the perfume of flowers…”
- from “Three Days to See” by Helen Keller
• book titles:
• School for Scandal (R. Sheridan), Pride and Prejudice, Sense
and Sensibility (J. Austen), Silver Spoon (J. Galsworthy).
More poetry examples
Slowly, silently, now the The wind was a torrent of darkness
moon among the gusty trees.
The moon was a ghostly galleon
Walks the night in her silver tossed upon cloudy seas.
shoon; The road was a ribbon of moonlight
This way, and that, she peers, over the purple moor.
and sees And the highwayman came riding-
Riding – riding—
Silver fruit upon silver The highwayman came riding, up to
trees… the old inn-door.
-- Walter de la Mare, Silver -- Alfred Noyce, Highwayman
• Poetry:
• The day is cold and dark and dreary
It rains and the wind is never weary.
--(Longfellow)
She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that’s best of dark and bright
Meet in her aspect and her eyes:
Thus mellowed to that tender light
Which Heaven to gaudy day denies.
--(Pied Beauty, G.M. Hopkins)
2. Consonance
• Involves consonants but not necessarily in the onset
position and could be at the beginning, end or middle of
several successive words or lines
• Often, eye rhymes are an example of this –
good~food~blood, word~lord;
In poetry
I want a hero: an uncommon want
When every year and month sends forth a new one
Till, after cloying the gazettes with cant
The age discovers he is not the true one
Of such as these, I should not care to vaunt
I’ll therefor take our ancient friend Don Juan…
-- Lord Byron, Don Juan
The moon was shining
• And frightful a nightfall folded rueful
a day --(G.M. Hopkins) sulkily,
• ‘T was later when the summer went Because she thought the
Than when the cricket came, sun
And yet we knew that gentle clock Had got no business to be
Meant nought but going home there
‘T was sooner when the cricket went After the day was done—
Than when the cricket came “It’s very rude of him,” she
Yet that pathetic pendulum, said,
Keeps esoteric time “To come and spoil the
--(Emily Dickinson) fun!”
--Lewis Carrol, The Walrus
and the Carpenter
3. Assonance
the repetition of vowel sounds for internal rhyming
within phrases or sentences (a rhyme in this case being just the
syllabic resemblance):
• on a proud round cloud in white high night; (e.e. cummings)
• I must confess that in my quest I felt depressed and
restless;
• Soft language issued from their spitless lips as they swished
in low circles round and round the field, winding hither and
thither through the weeds. (James Joyce)
Poetry is old, ancient, goes back far.
It is among the oldest of living things.
So old it is that no man knows how and why the first poems
came. --Carl Sandburg, Early Moon
Oh, there goes Rabbit, he choked
He's so mad, but he won't give up that easy, no
He won't have it, he knows his whole back's to these ropes
It don't matter, he's dope
He knows that, but he's broke
He's so stagnant that he knows
When he goes back to his mobile home,
That's when it's back to the lab again yo
-- Eminem (Lose Yourself)
The Eagle
by Alfred Lord Tennyson

He clasps the crag with crooked hands;


Close to the sun in lonely lands,
Ring'd with the azure world, he stands.

The wrinkled sea beneath him crawls;


He watches from his mountain walls,
And like a thunderbolt he falls.
4. Onomatopoeia
• is a combination of speech sounds which aim at imitating
sounds produced
• in nature (wind, sea, thunder),
• by things (machines, tools),
• by people (sighing, laughter, crying)
• and by animals.
• Onomatopoeia is based on metonymy (using a word to
stand for one closely related to it).
Onomatopoeia
• is often based on and combined with alliteration;
• may carry an aesthetic function:
• act pleasurably or unpleasurably
on the reader’s feelings.
• is the poetic device by which sound is used to communicate
sense.

• The moan of doves in immemorial elms. And murmuring of


innumerable bees.
Onomatopoeia
• Direct - is contained in words that imitate natural
sounds:
• buzz, cuckoo, ding-dong…
• Indirect - is a combination of sounds, the aim of which is
to make the sound of the utterance an echo of its sense
(echo-writing):
• And the silken, sad, uncertain, rustling of each purple
curtain. (E.A. Poe)
Indirect Onomatopoeia demands some mention of what
makes the sound.
Let’s have one day for girls and boyses
When you can make the grandest
noises.
Screech, scream, holler, and yell –
Buzz a buzzer, clang a bell, Noise Day
Sneeze – hiccup – whistle – shout,
by Shel Silverstein
Laugh until your lungs wear out,
Toot a whistle, kick a can,
Bang a spoon against a pan,
Sing, yodel, bellow, hum,
Blow a horn, beat a drum,
Rattle a window, slam a door,
Scrape a rake across the floor . . ..
Tlot-tlot; tlot-tlot! Had they heard it?
The horse hoofs ringing clear;
Tlot-tlot, tlot-tlot, in the distance?
Were they deaf that they did not hear?

--Alfred Noyce, Highwayman


In Prose as in Poetry
• from The Tunnel* (1995) by William H. Gass
• [F]rom a distance, Culp seems presentable and reasonable and
normal enough. Approach, however, and you'll hear whirs and
clicks, rhymes and puns, jocularities in dialect, jingles in dirty high-
schoolese, gibberish he says is pure Sioux.
• Culp's conversation is made-up like his Halloween Indian's face. It
is simply streaked with zaps, wheeps, and other illustrative noises.
I guess I shouldn't say "simply" or "streaked" either. That's not
exact. His speech is not outlined or punctuated with clacks or
thonks in any ordinary way. It is engulfed in them..
• Don't ask him the time. He'll tell you it's dong-dong-dong-a-ding
and ten ticks.
Pretty women wonder where my secret lies.
I’m not cute or built to suit a fashion model’s
size
But when I start to tell them,
They think I’m telling lies.
I say, Phenomenal Woman
It’s in the reach of my arms,
The span of my hips, by Maya Angelou
The stride of my step,
The curl of my lips.
I’m a woman
Phenomenally. 5. Refrain
Phenomenal woman,
That’s me.
I walk into a room Men themselves have wondered
Just as cool as you please, What they see in me.
And to a man, They try so much
The fellows stand or But they can’t touch
Fall down on their knees. My inner mystery.
Then they swarm around me, When I try to show them,
A hive of honey bees. They say they still can’t see.
I say, I say,
It’s the fire in my eyes, It’s in the arch of my back,
And the flash of my teeth, The sun of my smile,
The swing of my waist, ...
And the joy in my feet. The grace of my style.
I’m a woman I’m a woman
Phenomenally. Phenomenally.
Phenomenal woman, Phenomenal woman,
That’s me. That’s me.
6. Repetition Valued
• Time will eventually • Time to spend; Treasure
• show us the truth. • time to mend.
by Chris R.
• Time is a mystery; • Time to hate;
Carey
• time is a measure. • time to wait.
• Time for us is • Time is the essence;
• valued treasure. • time is the key.
• Time to spend; • Time will tell us
• time to mend. • what we will be.
• Time to cry . . . • Time is the enemy;
• Time to die. • time is the proof.
from Edgar Allen Poe’s “The Bells”

To the swinging and the ringing


of the bells, bells, bells –
Of the bells, bells, bells, bells
Bells, bells, bells –
To the rhyming and the chiming of the bells!
“Annabel Lee” by Poe: “Casey at the Bat” by Ernest
And the stars never rise, but I Lawrence Thayer (1888)
feel the bright eyes Oh, somewhere in this favoured
Of the beautiful Annabel Lee; land the sun is shining bright,
And so, all the night-tide, I lie The band is playing somewhere,
down by the side and somewhere hearts are light;
Of my darling—my darling—my
life and my bride, And somewhere men are
In the sepulchre there by the laughing, and somewhere
sea, children shout,
In her tomb by the sounding sea. But there is no joy in Mudville:
Mighty Casey has struck out.
Rhyme and Metrical
structure
Prosody
Oral traditions
• Poetry started with the oral tradition
Before books people listened
The word was spoken first
History sung in verse
Bards, Griots, Gnostics, Troubadours,
In the beginning there was the Word..
• proverbs, riddles, tales, nursery rhymes, legends, myths,
epic songs and poems, charms, prayers, chants, songs,
dramatic performances
7. Rhyme
What is it?
• the repetition of identical or similar terminal sound
combinations.
• rhyming words are placed at a regular distance from each
other (within a line or at the ends of lines in verse)
Why use it?
• One way to create euphony.
• Normal in poetry, less so in prose
• Two types, end-rhyme or internal rhyme
Rhyme Type
• Full or Perfect rhyme – the likeness between the vowel sounds
in the last stressed syllables and all sounds that follow them
(coda as well as any syllables that follow):
• tenderly – slenderly; finding – binding; know – though.
• Imperfect (slant/near or eye) rhymes)
• similarity to the eye, or spelling similarity: proved – loved;
brood – blood; slow – law, dizzy – easy.
• I ain't gon' be cooking all day,
I ain't gon' do your laundry… J.Lo
Imperfect rhyme contd.
• Blow, blow, thou winter wind,
Thou art not so unkind
As man’s ingratitude;
Thy tooth is not so keen,
Because thou art not seen,
Although thy breath be rude. –Shakespeare
• And be prosperous, though we live dangerous
Cops could just arrest me, blamin’ us, we’re held like hostages
(NY State of Mind by Nas, -us sound)
Mixed up – examples from W.B. Yeats
• I have met them at close of day
Coming with vivid faces
From counter or desk among grey
Eighteenth-century houses.‘
--Easter 1916,
• When have I last looked on
The round green eyes and the long wavering bodies
Of the dark leopards of the moon?
All the wild witches, those most noble ladies …
--Lines written in Dejection, W.B. Yeats
Perfect rhymes may be

• Masculine (single) – the similarity of one stressed final


syllable:
• plain – terrain- main; find – declined – mind;
• Feminine (double) – the similarity of one stressed
syllable followed by one unstressed syllable:
• daugh.ter – wa.ter, moun.tain – foun.tain;
An example from P.B. Shelley
• Alternating masculine and feminine rhymes :
When the lamp is shattered,
The light in the dust lies dead,
When the cloud is scattered,
The rainbow’s glory is shed.
When the lute is broken
Sweet tones are remembered not
When the lips have spoken
Loved accents are soon forgot
End rhyme sequences
• Couple rhyme – the 1st and the 2nd lines rhyme together
(a…a):
• Away, away from men and towns,
To the wild woods and the downs –
To the silent wilderness
Where the soul need not repress
(Shelley, To Jane: The Invitation)
End rhyme sequences
• Cross rhyme – the 1st and the 3rd lines rhyme together
(a…b…a…b)
• Four seasons fill the measure of the year;
There are four seasons in the mind of man:
He has his lusty spring, when fancy clear
Takes in all beauty with an easy span…
• (Keats, The Human Seasons)
End rhyme sequences
• Frame rhyme – the 1st and the 4th lines rhyme together
(a..b..b..a)
• Love, faithful love recalled thee to my mind
But how could I forget thee? Through what power
Even for the least division of an hour
Have I been so beguiled as to be blind?
• (--Wordsworth, Surprised by Joy)
Internal Rhyme
• Internal rhyme – exists between the middle and final
words or syllables of a verse:
• The fair breeze blew, the white foam flew,
The furrow followed free;
We were the first that ever burst
Into that silent sea…
• (S.T. Coleridge, The Rime of the Ancient Mariner)
The functions of rhyme
• it signals the end of a line,
• marks the arrangement of lines into stanzas;
• makes rhythm manifest and easily perceptible;
• adds greater prominence to the most emphatic place in a
poetic line – the end.
8. Rhyme Scheme

Twinkle, twinkle little star a


How I wonder what you are. a
Up above the earth so high, b
Like a diamond in the sky. b

Baa, baa, black sheep a


Have you any wool? b
Yes sir, yes sir, c
Three bags full. b
Rhyme Scheme continued…

What is the rhyme scheme of this stanza?

Whose woods these are I think I know.


His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
Stopping by Woods on a Snowy Evening by
Robert Frost
Did you get it right? aaba

Whose woods these are I think I know. a


His house is in the village though; a
He will not see me stopping here b
To watch his woods fill up with snow. a

42
“Trees” by Joyce Kilmer (aabb)

I think that I shall never see (a)


A poem lovely as a tree. (a)
A tree that may in summer wear (b)
A nest of robins in her hair. (b)
“The Highwayman” by Alfred Noyes (aabcb)

The wind was a torrent of darkness among the gusty trees.


The moon was a ghostly galleon tossed upon cloudy seas.
The road was a ribbon of moonlight over the purple moor.
And the highwayman came riding-
Riding – riding—
The highwayman came riding, up to the old inn-door.
“The Cremation of Sam McGee” by Robert
W. Service (abcbdefe)
There are strange things done in the midnight sun
By the men who moil for gold;
The Arctic trails have their secret tales
That would make your blood run cold;
The Northern Lights have seen queer sights,
But the queerest they ever did see
Was that night on the marge of Lake Lebarg
I cremated Sam McGee
Back to Poe and Annabel lee
It was many and many a year ago,
In the kingdom by the sea,
That a maiden there lived, whom you may know
By the name of Annabel Lee;
And this maiden she lived with no other thought
Than to love, and be loved by me.
9. Rhythm
• is a regular alternation of similar or equal units of speech
• alternation of stressed and unstressed syllables (stressed vs
unstressed is a relative perception of
loudness/salience/prominence; a syllable is stressed only vis-à-vis
its neighbours)
• is a flow, movement, procedure, etc.,
• characterized as beat, pulse or accent,
• in alternation with opposite or different elements or features
• Rhythm is often combined with rhyme, alliteration, and other
poetic devices to add a musical quality to the writing.
Rhythm in prose
• Is not governed by any definite rules. It is very changeable and is
mainly dependent on the author’s artistic sense
• Certain parts of prosaic descriptions can be very rhythmical, which
produces a certain stylistic effect
• Due to rhythm some utterances may sound very solemn and
imposing.
• Gibreel, the tuneless soloist, had been cavorting in moonlight as he
sang his impromptu gazal, swimming in air, butterfly-stroke, breast-
stroke, bunching himself into a ball, spreadeagling himself against
the almost-infinity of the almost-dawn, adopting heraldic postures,
rampant, couchant, pitting levity against gravity.
--Salman Rushdie’s 1988 novel The Satanic Verses
Mrs. Hurst and her sister
Rhythm in prose allowed it to be so—but still
they admired her and liked
• is also created by more or less her, and pronounced her to be
recurrent repetition of some a sweet girl, and one whom
similar units of speech:
• repetition of all kinds they would not object to know
• Polysyndeton (Austen) more of.
• asyndeton (Caesar) --Pride and Prejudice
• inversion “Are all thy conquests, glories,
• parallelism triumphs, spoils, Shrunk to
• heightens the emotional this little measure?”
tension of the narration. --Julius Caesar
JFK to J.Nehru
• “And so, my fellow Americans: ask not what your country
can do for you—ask what you can do for your country.”
• The story of the Ganges, from her source to the sea, from
old times to new, is the story of India's civilization and
culture, of the rise and fall of empires, of great and proud
cities, of the adventure of man and the quest of the mind
which has so occupied India's thinkers, of the richness and
fulfilment of life as well as its denial and renunciation, of
ups and downs, of growth and decay, of life and death.
• (Look up Martin Luther King’s I have a Dream speech).
Rhythm in poetry

• Is created by the regular recurrence of stressed and


unstressed syllables or equal poetic lines.
(Perceivable only as a contrast.)
• The regular alternation of stressed and unstressed
syllables forms a unit – the foot
I think that I shall never see a poem lovely as a tree.
• There are 5 basic feet in English poetry (ie grouping of
syllables)
Iambus
• a foot of one unstressed syllable followed by one stressed syllable:
• My SOUL /is DARK /– oh QUICK/ly STRING
The HARP /and YET /can BROOK /be HEARD…(Byron)
• I asked my moth’r for fifty cents to see the el’phant jump the
fence.
He jumped so high he reached the sky, and didn’t get back till
fourth of July.
• behold, amuse, arise, awake, return, Noel, depict, destroy, inject,
inscribe, insist, employ, "to be," inspire, unwashed, "Of Mice and
Men," "the South will rise again."
Othello
Trochee
• a foot consisting of one stressed syllable followed by one
unstressed syllable:
• FARE thee WELL! And IF for EVer
STILL for EVer, FARE thee WELL. -- Byron
• Peter Piper picked a peck of pickled peppers;
A peck of pickled peppers Peter Piper picked;
If Peter Piper picked a peck of pickled peppers,
Where's the peck of pickled peppers Peter Piper picked?
• happy, hammer, Pittsburgh, nugget, double, incest, injure, roses,
hippie, beat it, clever, dental, dinner, shatter, pitcher, Bombay,
chosen, planet, chorus, widow, bladder, cuddle, slacker, doctor,
market, picket
Song of Hiawatha by Longfellow
• On the shores of Gitche Gumee,
Of the shining Big-Sea-Water,
Stood Nokomis, the old woman,
Pointing with her finger westward,
O'er the water pointing westward,
To the purple clouds of sunset.
Dactyl
• a foot consisting of one stressed syllable followed by two
unstressed syllables:
• HAIL to the /CHIEF who in /TRIumph ad/VANces/
HOnoured and /BLESSED be the /EVer-green /PINE.
(Sir Walter Scott)
• carefully, changeable, merrily, mannequin, tenderly,
prominent, buffalo, Bellingham, bitterly, notable, horrible,
glycerin, parable, scorpion, Indianapolis, Jefferson
RandJ
Woe is me/-woe is me
Romeo/ Montague
loved Julie/ Capulet
what e'er the / cost,
but in the/ end it seems
lovers so /torn between
Interfa/milial
feuds, can be/ lost.
--Charles Mcdauel
Anapest
• Anapest - is a foot consisting of two unstressed syllables
followed by one stressed syllable:
• He is GONE on the MOUNtain,
He is LOST to the FOrest… (Sir Walter Scott)
• understand, interrupt, comprehend, anapest, New Rochelle,
contradict, "get a life, "In the blink of an eye“
• Over hill, over dale,
Thorough bush, thorough brier,
Over park, over pale,
Thorough flood, thorough fire.
There was [an Old Man] [in a tree],
[Who was hor][ribly bored] [by a bee].
[When they said] ["Does it buzz?]"
[He replied] ["Yes, it does!]
[It's a re][gular brute][ of a bee!"]
--Edward Lear
Annabel Lee Again!

• For the moon/ never beams,/ without bring/ing me dreams/


Of the beau/tiful Ann/abel Lee;/
And the stars/ never rise,/ but I feel/ the bright eyes/
Of the beau/tiful Ann/abel Lee;/
Spondee

• is a metrical foot consisting of two stressed syllables:


• childhood, love-song, heartbreak, drop-dead
• football, Mayday, DDay, heartbreak, Key West, shortcake,
plopplop, dropdead, dead man, dumbbell, childhood, goofoff,
racetrack, bathrobe, black hole, breakdown, lovesong
Irregular feet
• The regularity of stressed and unstressed syllables is
frequently violated as a result of
• the natural phonetic laws of the English language
• or the emphatic stress.
• The feet of this nature do not typically provide the basis for a
metrical line. Instead, they are found as irregular feet in
meter based on another type of foot.
Meter – metrical structure - prosody
• The basic rhythmic structure of a verse.
• A metrical line is named based on the number of feet that are
in that line:
According to the number of feet per
line:
1 – monometer 5 – pentameter
2 – dimeter 6 – hexameter
3 – trimeter 7 – heptameter
4 – tetrameter 8 – octameter
Identifying meter
• ‘TIS the HOUR when HAPpy FAces
•/ U / U / U / U
• SMILE aROUND the TAper's LIGHT;
•/ U / U / U /
• WHO will FILL our VAcant PLAces?
•/ U / U / U / U
• WHO will SING our SONGS to-NIGHT?
•/ U / U / U
Faster than fairies, faster than witches,
Bridges and houses, hedges and ditches;
And charging along like troops in a battle
All through the meadows the horses and cattle:

All of the sights of the hill and the plain


Fly as thick as driving rain;
And ever again, in the wink of an eye,
Painted stations whistle by.
Here is a child who clambers and scrambles,
All by himself and gathering brambles;
Here is a tramp who stands and gazes;
And here is the green for stringing the daisies!

Here is a cart runaway in the road


Lumping along with man and load;
And here is a mill, and there is a river:
Each a glimpse and gone forever!

--Robert Louis Stevenson


From a Railway Carriage
Poem Example – My Papa’s Waltz
by Theodore Roethke

The whiskey on your breath The hand that held my wrist


Could make a small boy dizzy; Was battered on one knuckle;
But I hung on like death: At every step you missed
Such waltzing was not easy. My right ear scraped a buckle.

We romped until the pans You beat time on my head


Slid from the kitchen shelf; With a palm caked hard by dirt,
My mother's countenance Then waltzed me off to bed
Could not unfrown itself. Still clinging to your shirt.
The whiskey on your breath A
Could make a small boy dizzy; B
But I hung on like death: A
Such waltzing was not easy. B

We romped until the pans C


Slid from the kitchen shelf; D
My mother's countenance C (?)
Could not unfrown itself. D

What is the type of foot?


What is the metre?
Waltz
• A waltz goes 1,2,3,-1,2,3,-1,2,3, and the way the
rhythm in the poem is “the whiskey on your
breath”, it’s 1,2,3 the same rhythm!
How about some more examples?

• We real cool. We
Left school. We
• Lurk late. We
Strike straight. We
• Sing sin. We
Thin gin. We
• Jazz June. We
Die soon. Gwendolyn Brooks
Passenger
• " Let Her Go"
'Cause you only need the light when it's burning low
Only miss the sun when it starts to snow
Only know you love her when you let her go
Only know you've been high when you're feeling low
Only hate the road when you're missin' home
Only know you love her when you let her go
And you let her go-oh-oh-ooh
And Katy Perry?!
• Do you know that there's still a
• Firework chance for you
• Do you ever feel like a plastic bag 'Cause there's a spark in you
Drifting thought the wind • You just gotta ignite the light
Wanting to start again And let it shine
• Do you ever feel, feel so paper thin Just own the night
Like a house of cards Like the Fourth of July
One blow from caving in • 'Cause baby you're a firework
• Do you ever feel already buried deep Come on show 'em what your
Six feet under scream worth
But no one seems to hear a thing Make 'em go "Oh, oh, oh!"
As you shoot across the sky-y-y
• You don't have to feel like a waste of • 'Cause baby you're a firework
space Come on show 'em what your worth
You're original, cannot be replaced Make 'em go "Oh, oh, oh!"
If you only knew what the future holds As you shoot across the sky-y-y
After a hurricane comes a rainbow • Baby you're a firework
• Maybe a reason why all the doors are Come on let your colors burst
closed Make 'em go "Oh, oh, oh!"
So you can open one that leads you to the You're gonna leave 'em fallin' down
perfect road down down
Like a lightning bolt, your heart will glow • Boom, boom, boom
And when it's time, you'll know Even brighter than the moon, moon,
• You just gotta ignite the light moon
And let it shine It's always been inside of you, you,
Just own the night you
Like the Fourth of July And now it's time to let it through
But sometimes….
Fog
The fog comes
on little cat feet.
It sits looking
over harbor and city
on silent haunches
and then, moves on.

You might also like