Spondee Definition and Examples from Poetry

A  spondee  is a metrical foot in poetry, composed of two stressed syllables in a row. But lets back up for a second. A poetic foot is merely a unit of measure based on stressed and unstressed syllables, usually made up of  two or three syllables. There are a number of arrangements possible for the stresses within these syllables, and all of these arrangements have different names (iamb, trochee, anapest, dactyl, etc.). A spondee (coming from the Latin word for libation) is a foot made up of two stressed syllables. Its opposite, a foot made up of two unstressed syllables, is known as a pyrrhic foot. Spondees are what we call irregular feet. A regular foot (like an iamb) is often used throughout a whole line or poem. An entire, 14-line, Shakespearean sonnet can be made up of iambs. Since spondees are singularly stressed, every single syllable in the line or poem would need to be stressed in order for it to be considered regular. This is almost entirely impossible, since English relies on both stressed and unstressed syllables. Mostly, spondees are used for emphasis, as a foot or two in an otherwise regular (iambic, trochaic, etc.) poetic line. How to Identify Spondees Just as with any other metrical foot, the easiest way to start out when identifying spondees is to over-emphasize a words or phrases syllables. Try putting emphasis on different syllables to see which one feels the most natural (For example: do GOOD morning, good MORning, and good morNING all sound and feel the same? Which one sounds the most natural?). Once you figure out which syllables in a poetic line are stressed (and which are unstressed) you can then figure out if there are any spondees present. Take this line from William Shakespeares Sonnet 56: Which but to-day by feeding is allay’d,To-morrow sharpen’d in his former might: Scanning this line (checking out its stressed/unstressed syllables) we can write it out as: which BUT toDAY by FEEDing IS allAYD,to-MORrow SHARPend IN his FORmer MIGHT Here the capital-letter blocks are stressed syllables and lowercase are unstressed. As we can see, every other syllable is stressed--this line is iambic, and there are no spondees to be found. Again, it would be very unusual to find a whole line composed of spondees; there might be one or two in an entire poem.   One common place to find a spondee is  when a one-syllable word is repeated. Think â€Å"Out, out—† from Macbeth. Or someone shouting No no! It’s hard to pick one of the words to be stressed in cases like this: would we say â€Å"NO no!† or â€Å"no NO!†? Neither one feels right, whereas â€Å"NO NO† (with equal stress on both words) feels the most natural. Heres an example of that working really nicely in Robert Frosts poem Home Burial: ...But I understand: it is not the stones,But the child’s mound—’‘Don’t, don’t, don’t, don’t,’ she cried.She withdrew shrinking from beneath his arm The majority of this poem is fairly tight iambic pentameter (five feet per line, with each foot made of unstressed/stressed syllables)--here, in these lines, we find variation on that. but i UNderSTAND: IT is NOT the STONES,but the CHILDS MOUND This portion is largely iambic (even more so if you, like I do, pronounce child with two syllables). But then we get to   Dont, dont, dont dont, she cried. If we were following and enforcing strict iambs here, we would get the weird and awkward dont, DONT, dont, DONT which sounds like an old junky car driving too fast over a speed bump. Instead, what Frost is doing here is a much more intentional slowing of the line, an inversion of the traditional and established meter. To read this as naturally as possible, as the woman would be speaking these words, we need to stress  every single one. DONT, DONT, DONT, DONT, she CRIED This immediately grinds the poem almost to a halt. By stressing each one-syllable word, we are forced to take our time with this line, really feeling the repetition of the words, and, consequently, the emotional tension created by that repetition. More Examples of Spondees If you have a poem of metered verse, youll probably find a spondee or two within the lines. Here are two more examples of spondees in some  lines you might recognize. Stressed syllables are capitalized, and spondees are in italics. BATter my HEART, three-PERsond GOD, for YOUAs YET  but KNOCK, BREATHE, SHINE, and SEEK to MEND; (Holy Sonnet XIV by John Donne) OUT, DAMNED SPOT!  OUT, I SAY! - ONE: TWO: why,THEN tis TIME to DOt. (from  Macbeth  by William Shakespeare) Why do Poets Use Spondees? The majority of the time, outside of poetry, spondees are unintentional. At least in English, which is a language based on stressed and unstressed syllables, youre likely to speak or write spondees on a regular basis  without even knowing it. Some are just unavoidable; anytime you write Oh no! in a poem, for example, its probably going to be a spondee.   But, in all of the above examples from Frost, Donne, and Shakespeare, these extra weighted words do something for the poem. By making us (or an actor) slow down and accent each syllable, we, as readers (or audience members) are tuned in to pay attention to those words. Notice how  in each of the above examples, the spondees are emotion-heavy, crucial moments within the lines. Theres a reason words like is, a, and, the, of, etc., are never parts of spondees. Accented syllables have meat; they have heft to them linguistically, and, more often than not, that weight translates into meaning. Controversy With the evolution of linguistics and methods of scansion, some poets and scholars believe that a true spondee is impossible to achieve—that no two consecutive syllables can have the exact same weight or emphasis. Still, while the existence of spondees is being called into question, it is important to understand them as a concept, and to recognize when extra, consecutive stressed syllables in a poetic line impact the way we interpret and understand the poem. A Final Note This might go without saying, but its helpful to remember that scansion (determining the stressed/unstressed syllables in poetry) is somewhat subjective. Some people may read some words/syllables as stressed in a line, while others might read them as unaccented. Some spondees, like Frosts Dont dont dont dont are clearly spondees, while others, like Lady Macbeths words, are more open to different interpretations. The important thing to remember is that, just because a poem is in, say, iambic tetrameter, it doesnt mean that there are no variations within that poem. Some of the greatest poets know when to use spondees, when to shake up the meter a little for maximum impact, for greater emphasis and musicality. When writing your own poetry, keep that in mind—spondees are a tool you can use to make your poems come alive.

RAPPING ABOUT RAP Essay - 2506 Words

nbsp;nbsp;nbsp;nbsp;nbsp;Rap music is on its way to becoming one of the most popular forms of music on the market today. Although rap has only been popular for the last 15 years, it can be traced back to the days of slavery and even further to the tribes of Africa. Rap is used now as it was used for the past few centuries, as a form of communication. This music has been a way for the young African-Americans to speak out about their lives and the struggles they go through. Like rock-n-roll and other forms of music that achieve national attention, rap is being blamed for corrupting our youth. There is a new type of rap music out called quot;Gangster Rapquot;. This form of rap music is not the same and should not be compared with rap†¦show more content†¦Another link from African music to Rap is in the sounds that are used. It is said that quot;Grand Wizardquot; invented quot;scratchingquot; while practicing at home (Greenberg 15), however Andrei Strobert, a Brooklyn-based scho lar, musician and artist was quoted in an article by Harry Allen about the roots of rap music, quot;The scratch that you hear in hip-hop is similar to the African sekerequot;. She goes on to explain, quot;A sekere is a big gourd with beads around itquot;. She also noted that many of the sounds rappers use in her studio are from the Imo tribe of Nigeria (80). nbsp;nbsp;nbsp;nbsp;nbsp; nbsp;nbsp;nbsp;nbsp;nbsp;There are many comparisons between rap and African music but one comparison you dont hear about too often is the influence by Puerto Ricans living in New York at the time rap started popping up. Juan Flores brings up this comparison in his article, quot;Recital of decimals and aguinaldos in the Puerto Rican folk tradition involved methods of improvisation and alternation much like those typical of rap performances, while the tongue-twisting (trabalengua) style of some plena singing is an even more direct antecedent. More important, perhaps, just as with doo-wop and rhumba, there is a fascinating quot;fitquot; between Puerto Rican quot;clavequot; and characteristic rap rhythmsquot;(583). Puerto Ricans also played a big part in the influence of break dancing, a big part ofShow MoreRelatedEssay about Hip-Hop1452 Words   |  6 Pages Music, Dancing, Rapping? Well, its all of that and more hip-hop is a culture. According to Websters dictionary, culture is defined as the concepts, habits, skills, arts, instruments, institutions, etc. of a given people in a given period; civilization. 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The genre reflected on and spoke about the harsh realities of what life for a black person during the 1980s. One of the most prominent rap names during this era that became the voice for many people throughout the nation was the N.W.A (NiggazRead MoreThe 4 Elements Of The Movement Of Hip Hop1654 Words   |  7 PagesThe 4 Elements of the Movement of Hip Hop The Urban Dictionary’s definition of Hip Hop is: A name for the 4 elements of the late 70 s New York City renaissance which includes break dancing, emceeing, (rapping) graffiti, and turntablism. Wikipedia’s definition is: Hip hop or hip-hop is a subcultural movement that formed during the early 1970s by African-American and Puerto Rican youths residing in the South Bronx in New York City. Hip hop is truly several forms of art used to express emotions visuallyRead MoreThe Eminem s Third Single Album1749 Words   |  7 Pageship hop era. The white rapper rapped with weird melody, entertaining contents, and funny music video1. 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Breast Cancer The Most Common Cause Of Death Among Women...

Breast cancer is the most common cause of death among women (Centers for Disease Control and Prevention, 2016). The latest data from the Centers for Disease Control and Prevention (C.D.C.) state that in 2013 230,815 women in the United States were diagnosed with breast cancer, and in 2013 40,860 women died from breast cancer (Centers for Disease Control and Prevention, 2016). From 2002 to 2012, the occurrences of a breast cancer diagnosis remained at an even level, however the death rate from breast cancer decreased by 1.9% per year (Centers for Disease Control and Prevention, 2016). Mammography has been used for years to detect breast cancer and is considered the most effective tool to identify breast cancer (Komen, 2016). However, the recommendations for mammography screening have recently been challenged by the U.S. Preventative Service Task Force (U.S.P.S.T.F.). 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Race, Gender, And Social Class - 991 Words

Race, gender, and social class has several implications in the United States and how it shapes policy and perceptions of those who live in poverty. Current welfare systems are not perfect, and capitalistic policies do not work as intended to solve income inequalities. Given this, we will discuss social inequalities and capitalism, the welfare system, and propose two policies that solves welfare, and social and income inequalities. The first key idea from the materials is that social inequities and capitalism are intertwined. In the TEDTalks, while the upper class, or plutocrats, are typically living large, the lower classes are struggling to live. Additionally, due to the unfair system, the lower-income people are more likely to drop out†¦show more content†¦The welfare reform law in 1996 mostly tried to solve marital evils rather than efficiently dealing with welfare. It encouraged marriage and attempted to lower single parenthood. 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Night World Black Dawn Chapter 14 Free Essays

Maggie woke up slowly and almost luxuriously. She wasn’t freezing. She wasn’t aching or weakwith hunger. We will write a custom essay sample on Night World : Black Dawn Chapter 14 or any similar topic only for you Order Now And she had an unreasonable feeling of safety. Then she sat up and the safe feeling disappeared. She was in Laundress’s hut of earth bricks.Jeanne and P.J. were there, but Cady had been taken to another hut to be treated. Laundress hadstayed all night with her, and Maggie had no ideaif she was getting better or not. The frightened girl called Soaker brought them breakfast, but couldonly say that Cady was still asleep. Breakfast was the same as dinner last night hadbeen: a sort of thick oatmeal sweetened with huckle berries. Maggie ate it gratefully. It was good-atleast to somebodyas hungry as she was. â€Å"We’re lucky to have it,† Jeanne said, stretching.She and P.J. were sitting opposite Maggie on thebare earth of the floor, eating with their fingers. They all were wearing the coarse, scratchy tunicsand loose leggings of slaves, and Maggie kept goinginto spasms of twitching when the material made her itch somewhere she couldn’t reach. Maggie’sclothes, including her precious socks, were hiddenat the back of the hut. â€Å"They don’t grow much grain or vegetable stuff,† Jeanne was saying. â€Å"And of course slaves don’t getto eat any meat. Only the vampires and the shapeshifters get to eat blood or flesh.† P.J. shivered, hunching up her thin shoulders. â€Å"When you say it like that, it makes me not wantto eat it.† Jeanne gave a sharp-toothed grin. â€Å"They’re afraidit would make the slaves too strong. Everythinghere’s designed for that. Maybe you noticed, there’snot much in the slave quarters made of wood.† Maggie blinked. She hadnoticed that vaguely, atthe back of her mind. The huts were made of bricks, with hard-packeddirtfloors. And there wereno wooden tools like rakes or brooms lying around. â€Å"But what do they burn?† she asked, looking atthe small stone hearth built right on the floor ofthe hut. There was a hole in the roof above to letsmoke out. â€Å"Charcoaled wood, cut in little pieces. They makeit out in the forest in charcoal pits, and it’s strictly regulated. Everybody only gets so much. If they find a slave with extra wood, they execute ’em.† â€Å"Because wood kills vampires,† Maggie said. Jeanne nodded. â€Å"And silverkills shapeshifters.Slaves are forbidden to have silver, too-not thatany of them are likely to get hold of any.† P.J. was looking out the small window of the hut.There was no glass in it, and last night it had been stuffed with sacking against the cold air. â€Å"If slaves can’t eat meat, what are those?† she asked. Maggie leaned to look. Outside two big calves were tethered to iron pickets. There were also a dozen trussed-up chickens and a pig in a pen madeof rope. â€Å"Those are for Night People,† Jeanne said. â€Å"The shapeshifters and witches eat regular food – and sodo the vampires, when they want to. It looks likethey’re going to have a feast they don t bring theanimals here until they’re ready to slaughter.† P.J.’s face was troubled. â€Å"I feel sorry for them,† she said softly. â€Å"Yeah, well, there are worse things than beinghit over the head,† Jeanne said. â€Å"See those cagesjust beyond the pig? That’s where the exotics are ?tigers and things they bring in to hunt. That’s a bad way to die.† Maggie felt ice down her spine. â€Å"Let’s hope wenever have to find out – 2†² she was beginning, whena flash of movement outside caught her eye. â€Å"Get down!† she said sharply, and ducked out of ?line of sight of the window. Then, very carefully, with her body tense, she edged up to the opensquare again and peered out. â€Å"What is it?† Jeanne hissed. P.J. just cowered on thefloor, breathing quickly. Maggie whispered, â€Å"Sylvia.† Twofigures had appeared, walking through the back courtyard and talkingasthey went. Sylvia and Gavin. Sylvia’s gown today was misty leaf green,and her hair rippled in shimmering waves over her shoulders. She looked beautiful and graceful andfragile. â€Å"Are they coming here?† Jeanne breathed. Maggie shook a hand-held low to the groundtoward her to be quiet. She was afraid of the samething. If the Night People began a systematic search of the huts, they were lost. But instead, Sylvia turned toward the cages thatheld the exotics. She seemed to be looking at the animals, occasionally turning to make a remarkto Gavin. â€Å"Now, what’s she up to?† a voice murmured by Maggie’s ear. Jeanne had crept up beside her. â€Å"I don’t know. Nothing good,† Maggie whispered. â€Å"They must be planning a hunt,† Jeanne saidgrimly. â€Å"That’s bad. I heard they were going to doa big one when Delos came to an agreement withHunter Redfern.† Maggie drew in her breath. Had things gone thatfar already? It meant she didn’t have much timeleft. Outside, she could see Sylvia shaking her head,then moving on to the pens and tethers holding the domestic animals. â€Å"Get back,† Maggie whispered, ducking down.But Sylvia never looked at the hut. She made some remark while looking at the calves and smiling.Then she and Gavin turned and strolled backthrough the kitchen garden. Maggie watched until they were out of sight, chewing her lip. Then she looked at Jeanne. â€Å"I think we’d better go see Laundress.† The hut Jeanne led her to was a little bigger thanthe others and had what Maggie knew by now was an amazing luxury: two rooms. Cady was in thetiny room-hardly bigger than an alcove-in back. And she was looking better. Maggie saw it immediately. The clammy, feverish look was gone and so were the blue-black shadows under her eyes. Herbreathing was deep and regular and her lashes lay heavy and still on her smooth cheeks. â€Å"Is she going to be all right?† Maggie asked Laundress eagerly. The gaunt woman was sponging Cady’s cheekswith a cloth. Maggie was Surprised at how tenderthe big red-knuckled hands could be. â€Å"She’ll liveaslongasany of us,† Laundress said grimly, and Jeanne gave a wry snort. Even Maggie felt her lip twitch. She was beginning to like this woman. In fact, if Jeanne and Laundress were examples, the slaves here had a courage and a blackhumor that she couldn’t help but admire. â€Å"I had a daughter,† Laundress said. â€Å"She wasabout this one’s age, but she had that one’s coloring.† She nodded slightly atP.J.,who clutched atthe baseball cap stashed inside her tunic and smiled. Maggie hesitated, then asked. â€Å"What happenedto her?† â€Å"One of the nobles saw her and liked her,† Laundress said. She wrung out the cloth and put itdown, then stood briskly. When she saw Maggiestill looking at her, she added,asif she were talkingabout the weather, â€Å"He was a shapeshifter, a wolfnamed Autolykos. He bit her and passed his curse on to her, but then he got tired of her. One nighthe made her run and hunted her down.† Maggie’s knees felt weak. She couldn’t think ofanything to say that wouldn’t be colossally stupid,so she didn’t say anything. P.J. did. â€Å"I’m sorry,† she said in a husky little voice, and she put her small hand in Laundress’srough one. Laundress touched the top of the shaggy blondheadasif she were touching an angel. â€Å"Urn, can I talk to her? Cady?† Maggie asked,blinking fast and clearing her throat. Laundress looked at her sharply. â€Å"No. You won’tbe able to wake her up. I had to give her strong medicine to fight off what they’d given her. Youknow how the potion works.† Maggie shook her head. â€Å"What potion?† â€Å"They gave her calamus and bloodwort-andother things. It was a truth potion.† â€Å"You mean they wanted to get information outof her?† Laundress only dignified that with a bare nod foran answer. â€Å"But I wonder why?† Maggie looked at Jeanne,who shrugged. â€Å"She’s a witch from Outside. Maybe they thoughtshe knew something.† Maggie considered another minute, then gave itup. She would just have to ask Cady when Cadywas awake. â€Å"There was another reason I wanted to see you,†she said to Laundress, who was now briskly cleaning up the room. â€Å"Actually, a couple of reasons. Iwanted to ask you about this.† She reached inside her slave tunic and pulled outthe photo of Miles that she’d taken from her jacketlast night. â€Å"Have you seen him?† Laundress took the picture between a callusedthumb and forefinger and looked at it warily.†Wonderfully small painting,† she said. â€Å"It’s called a photograph. It’s not exactlypainted.† Maggie was watching the woman’s face,afraid to hope. There was no sign of recognition. â€Å"He’s related toyou,† Laundress said, holding the photo to Maggie. â€Å"He’s my brother. From Outside, you know? Andhis girlfriend was Sylvia Weald. He disappeared last week.† â€Å"Witch Sylvia!† a cracked, shaky voice said. Maggie looked up fast. There was an old womanin the doorway, a tiny, wizened creature with thin white hair and a face exactly like one of the driedapple dolls Maggie had seen at fairs. â€Å"This is Old Mender,† Jeanne said. â€Å"She sews uptorn clothes, you know? And she’s the other healing woman.† â€Å"So this is the Deliverer,† the cracked voice said, and the woman shuffled closer, peering at Maggie.†She looks like an ordinary girl, until youseethe eyes.† Maggie blinked.-Oh-thanks,-she said. Secretlyshe thought that Old Mender herself looked morelike a witch than anyone she’d ever seen in her life. But there was bright intelligence in the old wom-. an’s birdlike gaze and her little smile was sweet. â€Å"Witch Sylvia came to the castle a week ago,† shetold Maggie, her head on one side. â€Å"She didn’t have any boy with her, but she was talking about a boy.My grand-nephew Currier heard her. She was telling Prince Delos how she’d chosen a human for aplaything, and she’d tried to bring him to the castlefor Samhain. But the boy did something-turnedon her somehow. And so she had to punish him,and that had delayed her.† Maggie’s heart was beating in her ears. â€Å"Punishhim,† she began, and then she said, â€Å"What’sSamhain?† â€Å"Halloween,† Jeanne said. â€Å"The witches here normally have a big celebration at midnight.† Halloween. All right. Maggie’s mind was whirringdesperately, ticking over this new information. Sonow she knew for certain that Sylvia hadgone Ink ing on Halloween with Miles, just as she’d told thesheriffs and rangers. Or maybe they’d been driving, if Jeanne’s story about a mysterious pass that onlyNight People could see was true. But anyway they’dbeen coming here, to the Dark Kingdom. Andsomething had delayed them. Miles had done something that made Sylvia terribly angry and changed her mind about taking him to the castle. And made her†¦punish him. In some way thatMaggie wasn’t supposed to be able to guess. Maybe she just killed him after all, Maggiethought, with an awful sinking in her stomach. Shecould have shoved him off a cliff easily. Whatevershe did, he never made it here-right? â€Å"So there isn’t any human boy in the dungeon oranything?† she asked, looking at Laundress andthen Mender. But she knew the answer before theyshook their heads. Nobody recognizes him. He can’t be here. Maggie felt her shoulders slump. But althoughshe was discouraged and heartsick, she wasn’t defeated. What she felt instead was a hard little burning like a coal in her chest. She wanted more than ever to grab Sylvia and shake the truth out of her. At the very least, if nothing else, I’m going to findout how he died. Because that’s important. Funny how it didn’t seem impossible anymorethat Miles was dead. Maggie had learned a lot since coming to this valley. People got hurt and died andhad other awful things happen to them, and thatwas that. The ones left alive had to find some wayof going on. But not of forgetting. â€Å"You said you had two reasons for coming to seeme,† Laundress prompted. She was standing with her big hands on her hips, her gaunt body erectand looking just slightly impatient. â€Å"Have you comeup with a plan, Deliverer?† â€Å"Well-sort of. Not exactly a planso much as well, I guess it’s a plan.† Maggie floundered, tryingto explain herself. The truth was that she’d come up with the most basic plan of all. To go see Delos. That was it. The simplest, most direct solution.She was going to get him alone and talk to him.Use the weird connection between them if she hadto. Pound some sort of understanding into histhick head. And put her life on the line to back up her words. Jeanne thought the slaves were going to be killedwhen Hunter Redfern and Delos made their deal. Maggie was a slave now. If the other slaves werekilled, Maggie would be with them. And you’re betting that he’ll care,a nasty littlevoice in her brain whispered. But you don’t reallyknow that. He keeps threatening to kill you himself. He specifically warned you not to come to thecastle. Well, anyway, we’re going to find out, Maggie told the little voice. And if I can’t convince him, I’llhave to do something more violent. â€Å"I need to get into the castle,† she said to Laundress. â€Å"Not just into the kitchen, you know, but theother rooms-wherever I might be able to findPrince Delos alone.† â€Å"Alone? You won’t find him alone anywhere buthis bedchamber.† â€Å"Well, then, I have to go there.† Laundress was watching her narrowly. â€Å"Is it assassination you’ve got in mind? Because I knowsomeone who has a piece of wood.† â€Å"It†¦ .† Maggie stopped and took a breath. â€Å"I really hope it isn’t going to come to that. Butmaybe I’d better take the wood, just in case.† And you’d better hope for a miracle, the nastyvoice in her mind said. Because how else are yougoing to overpower him? Jeanne was rubbing her forehead. When shespoke, Maggie knew she’d been thinking along thesame lines. â€Å"Look, dummy, are you sure this is agood idea? I mean, he’s-â€Å" â€Å"A Night Person,† Maggie supplied.†And you’re=’ â€Å"Just an ordinary human.† â€Å"She’s the Deliverer,† P.J. said stoutly, and Maggie paused to smile at her. Then she turned back to Jeanne. â€Å"I don’t knowif it’s a good idea, but it’s my only idea. And I knowit’s dangerous, but I have to do it.† She looked awkwardly at Laundress and Old Mender. â€Å"The truthis that it’s not just about you people here. If whatJeanne told you about Hunter Redfern is right,then the whole human world is in trouble.† â€Å"Oh, the prophecies,† Old Mender said, and cackled. â€Å"You know them, too?† â€Å"We slaves hear everything.† Old Mender smiled and nodded. â€Å"Especially when it concerns our own prince. I remember when he was little-I was theQueen’s seamstress then, before she died. Hismother knew the prophecies, and she said, ‘In blue fire, the final darkness is banished.In blood, the final price is paid.† Blood, Maggie thought. She knew that blood hadto run before Delos could use the blue fire, butthis sounded as if it were talking about something darker. Whose blood? she wondered. â€Å"And the final darkness is the end of the world,right?† she said. â€Å"So you can see how important itis for me to change Delos’s mind. Not just for theslaves, but for all humans.† She looked at Jeanne asshe spoke. Laundress and Old Mender didn’t knowanything about the world Outside, but Jeanne did. Jeanne gave a sort of grudging nod, to say that, yeah, putting off the end of the world was important. â€Å"Okay, so we have to try it. We’d better findout which slaves are allowed in his room, and thenwe can go up and hide. The big chambers havewardrobes, right?† She was looking at Old Mender,who nodded. â€Å"We can stay in one of those-â€Å" â€Å"That’s a good idea,† Maggie interrupted. â€Å"Everything but the we. You can’t go with me this time.This is something I have to do alone.† Jeanne gave an indignant wriggle of her shoulders. Her red hair seemed to stand up in protest and her eyes were sparking. â€Å"That’s ridiculous. Ican help. There’s noreason† â€Å"There is, too, a reason,† Maggie said. â€Å"It’s too dangerous. Whoever goes there might get killedtoday. If you stay here, you may at least have afew more days.† When Jeanne opened her mouthto protest, she went on, â€Å"Days to try and figure outa new plan, okay? Which will probably be just as dangerous. And, besides, I’d like somebody towatch over P.J. and Cady for as longaspossible.† She gave P.J. a smile, and P.J. lifted her head resolutely, obviously trying to stop her chin fromquivering.,., Ido need to do it alone,† Maggie said gently, turning back to Jeanne. Somewhere in herown mind, she was standing back, astonished. Whowould have ever thought, when she first met Jeannein the cart, that she would end up having to talkher out of trying to get killed with Maggie? Jeanne blew air out pursed lips, her eyes narrowed. Finally she nodded. â€Å"Fine, fine. You go conquer the vampire and Illstay and arrange the revolution.† â€Å"I bet you will,† Maggie said dryly. For a momenttheir eyes met, and it was like that first time, whenan unspoken bond had formed between them. â€Å"Try to take care of yourself. You’re not exactlythe smartest, you know,† Jeanne said. Her voice was a little rough and her eyes were oddly shiny. â€Å"I know,† Maggie said. The next moment Jeanne sniffed and cheered up.†I just thought of who’s allowed up into the bedrooms in the morning,† she said. â€Å"You can helpher, and shell lead you to Delos’s room.† Maggie looked at her suspiciously. â€Å"Why are youso happy about it? Who is it?† â€Å"Oh, you’ll like her. She’s called Chamber-potEmptier.† How to cite Night World : Black Dawn Chapter 14, Essay examples

Bookkeeping Impact On Nature Of Accounting -Myassignmenthelp.Com

Question: Discuss About The Bookkeeping Impact On Nature Of Accounting? Answer: Introduction Trial balance is generally prepared at closing of the accounting period and assists in drafting the financial statements. It assures that every recorded debit entry has a corresponding credit entry and is recorded in the account as per double entry accounting concept. A journal entry refers to the financial transactions that have been incurred by the business unit during a particular financial year (Warren and Jones 2018). On the other hand, the adjusting journal entry refers to those particular journal entries that have been included in the financial report at the end of a particular financial year as because the revenue or expenses associated with those journal entries have not been recognized at the time of generation. Trial balance and the purpose of creation Trial balance is the list for the closing ledger balances on a specific date and it is the 1st step towards preparation of the financial statements. Generally, it is prepared at closing of the accounting period and assists in drafting the financial statements. The ledger balances are segregated into the credit balance and debit balance. Expenses and assets are recorded under the debit side and liabilities, incomes and capital accounts are recorded in the credit side (Edwards 2013). When all the entries from the accounting transactions are correctly recorded and all ledger balances are extracted accurately then the total debit balances will be equal to the credit balances. Purpose of creating the trial balance Trial balance is the internal report that runs at the closing of each accounting period and lists the closing balance of each account. Primarily, the report is used for assuring that total debit is equal to total credit balance. It is the 1st step in preparation of the financial statement. It is the working paper that is used by the accountant as the basis at the time of preparing the financial statement (Henderson et al. 2015). It assures that every recorded debit entry has a corresponding credit entry and is recorded in the account as per double entry accounting concept. If total of trial balance does not match then the difference shall be investigated and errors shall be resolved before preparing the financial statement. Rectifying the errors related to basic accounting can be lengthy procedure after preparation of the financial statements as the required changes will demand rectification of the financial statements. Further, the trial balance assists in rectification and identifi cation of the errors involved (Needles, Powers and Crosson 2013). Adjusting journal entries and its purpose of recording A journal is a fundamental step in the preparation of the accounting statements for any business concern. A journal entry refers to the financial transactions that have been incurred by the business unit during a particular financial year. The issue that has been presented in the question is in regards to the adjusting journal entries. An adjusting journal entry refers to those particular journal entries that have been included in the financial report at the end of a particular financial year as because the revenue or expenses associated with those journal entries have not been recognized at the time of generation (Weygandt, Kimmel and Kieso 2015). An adjusting journal entry might also be passed when a particular financial transaction that had been started in the previous accounting period ends in the current accounting period. Accounting errors are a common occurrence on the part of the company accountant as he or she has to deal with a huge volume of financial transactions. Therefo re, such accounting errors can also be rectified with the help of adjusting journal entries (Ijiri 2014). The adjusting journal entries are recorded in order to ensure the fact that the accounting statements that are further prepared on the basis of these journal entries reflect a genuine and fair image of the concerned organization. The recording of the adjusting journal entries also help in tracing the cash that flows in and out of business during a particular financial year. To be more precise, the adjusting journal entry helps in the identification of the exact instances as to when the money goes out of business and the instances when it flows into business. Moreover, they also facilitate the conversion of the real time accounting entries into entries that can be suited into the accrual accounting system. There are precisely three common types of adjusting journal entries, which are accruals, estimates and deferrals (Dennis 2014). Purpose of writing the adjusted trial balance The issue that has been presented in the question is in regards to the purpose for writing an adjusted trial balance. However, before understanding the purpose of an adjusted trial balance, the meaning of a trial balance must be understood. A trial balance refers to the financial statement that is prepared prior to the preparation of the significant accounting statements like the income statement and the balance sheet. A trial balance is essentially prepared in order to check whether the net balance in the credit, accounts match with the net balance in the debit accounts (Warren and Jones 2018). The current balance in each of the credit or the debit accounts is recorded and then the total amount of each credit and debit column is matched so that they represent the same balance. However, in case the corresponding balances do not match, it represents the fact that there has been a mistake, either in the account balances or in the computation of the total credit or debit balance. The ne ed for an adjusted trial balance arises at this point. An adjusted trial balance incorporates the adjusting entries and then attempts to match the total debit and credit columns. The sole purpose of preparing the adjusted journal entries revolves around the fact that the accuracy of the accounting statements that are further deduced from the trial balance depends on the correctness of the adjusted trial balance. The primary motive behind the preparation of the financial statements of a particular organization is that the users of these statements like the investors and other stakeholders of business get a clarified view into the financial performance of the firm in order to make proper financial decisions. Thus, in case of any accounting error in the trial balance will result in the generation of faulty accounting statements. Hence, the role of adjusted trial balance is very important for an accountant (Adejare 2014). Adjustment journal entries as against the closing journal entries At first glance the closing entries and adjustment entries are not easy to grasp. The reason behind this is that the kind of transactions that requires adjustments that may not be familiar. The main feature of this kind of transaction is the time of involvement. The adjusting entries in other way are recorded through initial transaction (Apostolou et al. 2013). However, for the subsequent events further entries required to be passed. Apart from this, the adjustments are forced upon accountant as accounting cycle comes closure to end and financial statements are required to be prepared. The adjustment entries are recorded at closing of each accounting period and before the preparation of the financial statements. Adjusting entries are the major part of the closing procedures as per the notes in accounting cycle where the preliminary trial balances are transformed into the final trial balance. Generally it is not possible to generate the financial statements that are fully complied wit h the accounting standards without using the adjusting entries (Edmonds et al. 2013). On the contrary, closing entries are the journal entries that are made at closing of the accounting period for transferring the temporary to the permanent accounts. Permanent accounts under which the balances get transferred depend on the business type. For example, in case of sole proprietorship the balance is transferred to owners capital account and in case of company the balance is transferred to retained earnings. The income summary account can be used for showing balances among the expenses and revenues or they can be closed directly against the retained earnings from where the payments for dividend will be deducted. This procedure is used for resetting the temporary account balance to zero for the next period of accounting. Conclusion From the above discussion it is concluded that the trial balance and the journal entries along with the adjusting journal entries play major role while preparing the financial statements of the company. The trial balance assures that every recorded debit entry has a corresponding credit entry and is recorded in the account as per double entry accounting concept. On the other hand, the adjusted journal entries revolves around the fact that the accuracy of the accounting statements that are further deduced from the trial balance depends on the correctness of the adjusted trial balance. References Adejare, A.T., 2014. The analysis of the impact of accounting records keeping on the performance of the small scale enterprises. International Journal of Academic Research in Business and Social Sciences, 4(1), p.1. Apostolou, B., Dorminey, J.W., Hassell, J.M. and Watson, S.F., 2013. Accounting education literature review (20102012).Journal of Accounting Education,31(2), pp.107-161. Dennis, S., 2014. Systems and methods for providing computer-automated adjusting entries. U.S. Patent Application 14/046,921. Edmonds, T.P., McNair, F.M., Olds, P.R. and Milam, E.E., 2013.Fundamental financial accounting concepts. New York, NY: McGraw-Hill Irwin. Edwards, J.R., 2013.A history of financial accounting (RLE Accounting)(Vol. 29). Routledge. Henderson, S., Peirson, G., Herbohn, K. and Howieson, B., 2015.Issues in financial accounting. Pearson Higher Education AU. Ijiri, Y., 2014. The beauty of double-entry bookkeeping and its impact on the nature of accounting information. Economie Notes by Monte dei Paschi di Siena, 22(2-1993), pp.265-285. Needles, B.E., Powers, M. and Crosson, management., 2013.Financial and managerial accounting. Cengage Learning. Warren, C.S. and Jones, J., 2018. Corporate financial accounting. Cengage Learning. Weygandt, J.J., Kimmel, P.D. and Kieso, D.E., 2015. Financial managerial accounting. John Wiley Sons.