Indicate the underlined as direct object , indirect object , subject or object complement

Od = direct object \ Oi = indirect object \ Cs = subject complement \ Co= object complement

Will someone get a doctor, quickly! Od
George and Paul both became famous doctors. Cs
Do you call yourself a doctor? Od , Co
May I call you Jenny? ( direct object , object complement)
May I call you a taxi or something?
( indirect object, direct object )
Call me anything you like.
object complement or direct object ( because me = indirect object)
It’s so cold. I can’t get warm. ( Cs, Cs)
I can’t get my hands warm. ( Od , Co )
Keep quiet. Keep those children quiet. Cs , Od, Co
Can't you give them something to keep them quiet?
Oi , Od, Od
The young man was slowly going mad. Cs
His mother-in- laws was driving him mad. Od, Co
The driver turned the corner too quickly. Od
The weather is turning warmer. Cs
The hot weather turned all the milk sure. Od , Co
The young man grew very depressed. Cs
He grew his hair long. Od , Co
He had made a great mistake. Od
His in-laws had simply made him their servant. Od , Co
His wife sometimes made him curry. Oi , Od
But this only made him more miserable. Od, Co
( there is no another object to say him = indirect object )
Show me your passport. Show me. Oi , Od , Oi
( in 2 = show me your passport \ it is not necessary to be repeated )
[already understood]
Did you see anyone? Did you say anything? Od , Od
I didn’t tell anybody anything. Oi , Od

The Book of Thel
By William Blake
III
Then Thel astonish'd view'd the Worm upon its dewy bed.
"Art thou a Worm? Image of weakness, art thou but a Worm?
I see thee like an infant wrapped in the Lily's leaf;
Ah, weep not, little voice, thou can'st not speak, but thou can'st weep.
Is this a Worm? I see thee lay helpless & naked, weeping,
And none to answer, none to cherish thee with mother's smiles."
The Clod of Clay heard the Worm's voice, & raisd her pitying head;
She bow'd over the weeping infant, and her life exhal'd
In milky fondness; then on Thel she fix'd her humble eyes.
"O beauty of the vales of Har! we live not for ourselves;
Thou seest me the meanest thing, and so I am indeed;
My bosom of itself is cold, and of itself is dark,
But he that loves the lowly, pours his oil upon my head,
And kisses me, and binds his nuptial bands around my breast,
And says: 'Thou mother of my children, I have loved thee
And I have given thee a crown that none can take away.'
But how this is, sweet maid, I know not, and I cannot know;
I ponder, and I cannot ponder; yet I live and love."
The daughter of beauty wip'd her pitying tears with her white veil,
And said: "Alas! I knew not this, and therefore did I weep.
That God would love a Worm, I knew, and punish the evil foot
That, wilful, bruis'd its helpless form; but that he cherish'd it
With milk and oil I never knew; and therefore did I weep,
And I complaind in the mild air, because I fade away,
And lay me down in thy cold bed, and leave my shining lot."
"Queen of the vales," the matron Clay answered, "I heard thy sighs,
And all thy moans flew o'er my roof, but I have call'd them down.
Wilt thou, O Queen, enter my house? 'tis given thee to enter
And to return: fear nothing, enter with thy virgin feet."

بحوث ومصادر :

researches and criticism
"THE BOOK OF THEL" BY WILLIAM BLAKE: A CRITICAL READING
BY MARJORIE LEVINSON
That "the name Thel is derived from a Creek root meaning 'desire' " is no news to any serious reader of Blake. The above quotation appears in David Perkins' textbook anthology, where it Is given as a footnote to the title, "The Book of Thel." Yet the suggestive identity between Thel and Desire is largely ignored. When W. j. T. Mitchell describes the poem's action as "the story of a young woman who questions her own usefulness and purpose in a world where everything dies or fades away,"2 he expresses a critical consensus. In the main, "The Book of Thel" is read as a Little Girl Lost/Found poem writ large. The personification (Thel) is naturalized into character and the "character's" psyche is analyzed, its parts and processes used to support statements about Blake's view of human development. Thel is treated as a psychological construct having ontological density; she is seen to figure either as the true subject of the poem or as a "surrogate for the reader," that is, a character who feels, thinks, and behaves as we might. We read of "her desire" for Wisdom and Love as if Desire—the thing personified—were not synonymous with Thel but a motivation impelling a rounded character. When Desire is thus regarded as the "young woman's" defining characteristic, or as the object of her investigations, the poem presents itself as an allegory of psychosexual development. Although the Little Girl and Little Boy Lost and Found poems of the Songs of Innocence and Experience tend toward assuming this form, they are saved in the end from achieving allegorical fixity. The Songs exist within a symbolic frame of reference; they appear under the aegis of a major symbol (Innocence or Experience) and a minor one (Piper or Bard)! We cannot abstract event or character from idea because the symbol intervenes, preventing the two levels from disengaging. "The Book of Thal," lacking this context, offers no obvious resistance to allegorization. Blake's notorious disdain for allegory'—specifically, for the dualistic ways of thinking it encourages--did not, evidently, pre-vent him from writing one. His remarks, however, should temper
----
2
Thel is a poem in which the sceptical enquiries of a determined young woman thoroughly unmask patriarchal ideology, an ideology which promised women that heterosexual romantic and maternal roles equalled heavenly fulfilment, but which Thel discovers amount to nothing less than death.
---
3
Section 7 (pp. 65-6). The opening quotation from Blake's poem refers to the weak-willed sexuality of the timid Thel, who can never move out of her fantasy world of unborn innocence. Wright changes the context of the "little curtain of flesh" entirely. His curtain is one drawn back and then opening onto the memory of his mother's death in 1964. He was in Rome as a Fulbright student at the time and because of travel complications was unable to return for her funeral. He imagines the eight years his father spent as a widower in "the cave of cold air." The final half-line, from the familiar hymn, serves as a benediction for these two "lost" souls, in the sense not of defeated or hopeless but of no longer present. The "still small voice of calm" also expresses a desire for the tranquil voice of God to quiet the maniacal honking in the Roman streets below.
--
4
The creatures Thel meets repeatedly urge faith and self-sacrifice, doctrines with clear biblical and Christian antecedents. Each of her temporary companions can be considered as articulate emblems in a Book of Nature from which Thel is meant to learn the same lessons presented in the books of the New Testament. The Bible - or, more precisely, its contemporary interpreters - may have also played a role in determining Blake's meter in The!, the iambic septenary or fourteener that soon became his standard line for illuminated poetry (Ostriker, Vision 87-8). Robert Lowth, in his verse translation of Isaiah (1778) and Lectures on the Sacred Poetry of the Hebrews (English translation 1787), claimed that the books of the Old Testament were originally delivered as oral poetry with variable line length, including fourteener (Bogen is; Essick, Language of Adam 144-5). Other influences, including Macpherson's rhythmic prose and George Chap-man's translations of Homer, probably helped shape Blake's long line, but he may have believed that he was writing in a measure authorized by the original form of the Bible.
--
5
(Thel). An even closer bond joins TM and Ecclesiastes, the most likely source (12.6) for the 'silver rod' and 'golden bowl' of the Motto. Both works make extensive use of the interrogative and, like Thel, the speaker of Ecclesiastes journeys in search of the meaning of life, ends at the grave (man's 'long home', 12.5), and learns lessons only of mortality. He too had tried to learn from the creatures of nature, 'for that which befalleth ( = to happen especially as if by fate) the sons of men befalleth beasts; ... so that a man bath no preeminence above a beast' (gag). Like Thel's instructors, the 'Preacher' in Ecclesiastes knows that 'One generation passes away, and another generation cometh: but the earth abideth for ever' ( = to remain stable or fixed in a state a love) (14 Yet, more like Thel than the Lilly or Clod of Clay, the Preacher takes no solace in this knowledge but seems burdened by it. In several significant ways, The Book of Thel is Blake's version of Ecclesiastes, with an innocent young woman substituted for the melancholy patriarch for whom 'all is vanity.
--
Har
وادي الكذب يأتي بهذا الوصف ,أو أسم جبل كما ترجمته
Har and Heva = Jewish origin
ادم وحواء تعبير عن خطيئة الإنسان (عبرية )
Confronted by approaching extinction, Tiriel retreats to his conception of an earthly paradise, the vales of liar. As Har means "mountain" in Hebrew, the very phrase "vales of liar" is an irony, possibly in deliberate contrast to the prophetic cry that "every valley shall be exalted". Blake's vales of Har were to be transformed later into the lower level or limit of the state-of-being he called Beulah or Innocence. Here, in Mid, this state is exposed only in its aspect of natural ignorance. of perpetual infants aging into idiocy in the persons of Har and Heva. the Adam and Eve of this barren paradise. They are guarded by Mnetha, tutelary genius of their state. Her name is evidently founded on an amalgam of Athena and Mnemosyne, Urizenic =( wisdom) and memory as mother of the Classical muses. Damon (p 307) allegorizes Mar and Heva as eighteenth-century poetry and painting, but that seems too narrow an interpretation. Har is natural man, the isolated selfhood that can avoid death only as Swift's Struldbrug avoid it. He can also be compared to Tennyson's Tithonus and Eliot's Gerontion, ( little –old man) for they also age without being reborn in the imagination. liar was the creator of Tiriel, even as man entrapped in a state of nature invents Urizen as his god
The meaning of STRULDBRUG is one of a class of imaginary persons who can never die but who are declared dead in law at the age of 80 and live on wretchedly ...
-
Life of William Blake
CHAPTER X
IN the same year that the Songs of Innocence were published, Blake profited by his new discovery to engrave another illustrated poem. It is in a very different strain, one, however, analogous to that running through nearly all his subsequent writings, or Books,' as he called them. The Book of Thel is a strange mystical allegory, full of tender beauty and enigmatic meaning. Thel, youngest of 'the Daughters of the Seraphim' (personification of humanity, I infer), is afflicted with scepticism, with forebodings of life's brevity and nothingness :—She in paleness sought the secret air To fade away like morning beauty from her mortal day ; Down by the river of Mona her soft voice is heard, And thus her gentle lamentation falls like morning dew.

The farmers say recent inflation has driven them to the brink of ruin
قال الفلاحون أن التضخم المالي قد جعلهم على شفير هاوية الإفلاس
أي بمعنى في النقطة الحرجة
ruin

noun
physical destruction or collapse
The remains of a building that has suffered much damage
a dramatic decline; a downfall=
verb
damage irreparably; reduce to a state of ruin. \\ reduce to poverty or bankruptcy.
literary fall headlong

ruined
= adjective DERELICT, in ruins, dilapidated, ruinous, tumbledown, ramshackle, decrepit, falling to pieces, crumbling, decaying, disintegrating; informal shambly


ruin
noun
the buildings were saved from ruin: DISINTEGRATION, decay, disrepair, dilapidation, ruination; destruction, demolition, wreckage.
the ruins of a church: REMAINS, remnants, fragments, relics; rubble, debris, wreckage.
electoral ruin for Labour: DOWNFALL, collapse, defeat, undoing, failure, breakdown, ruination; Waterloo
shopkeepers are facing ruin: BANKRUPTCY, insolvency, penury, poverty, destitution, impoverishment, indigence; failure
preservation, triumph, wealth

But for your help = if you hadn't helped me Or without your help
لولا مساعدتك

But for your help, I would have failed
Without your help, I would have failed


نفس الشرطية \ ماضي افتراضي
لولا مساعدتك لكنت قد فشلت \ لفشلت

inverted order \ examples

Into the hall , marched the band
Natural : The band marched into the hall
Up the tree climbed the monkey
Natural order : The monkey climbed up the tree
monkey = the subject

1
An Introduction to English Grammar Syntax


By Nadia Hussein Salim
page 21 found inside
Sentences beginning with "there" and "here"
Inverted order can also occur in a sentence that begins with the word "there" or "here". When a statement begins with one of these words, the verb will come before the subject.
To find the subject of this kind of sentence, drop the word there or here. Then put the rest of the words in their natural order. Just remember that "there" or "here" can never be the subject of a sentence:
Inverted order: Here arrive the guests on time.
Natural order: The guests arrive on time.
Inverted order: There is someone in the room.
Natural order: Someone is in the room

2
English Grammar For Dummies


By Wendy M. Anderson, Geraldine Woods, Lesley J. Ward
page 112
There \ here is a million dollars

1. Ask yourself the questions: What’s happening? What is? Answer: Is.
2. Ask yourself the questions: Who is? What is? Answer: ? Did you say here is? But here can’t be a subject (it isn’t a noun or a pronoun — and to be a legal subject, it must be a noun equivalent). Neither can there. Here and there are empty subjects or fakers. Although they’re in the place usually occupied by the subject, here and there don’t decide the form of the verb. You don’t know whether to say is or are until you get to the real subject (which is, of course, what the verb agrees with — refer to Chapter 2 for more information). Fill in the gaps in each of these sentences with is or are to see what the subject really is: Here . . . a frog for you to put in Bobo’s bed. It has to be Here is a frog; the verb agrees with frog, so that’s the real subject (a frog is here for you to put in Bobo’s bed).
   

Hello
I answer my question this time
Though some people pretend ( there or here ) = subject and though saying it can act as a pronoun, and however, they lastly surrender to say ( dummy pronoun ) i.e ( not real ), so I want to add only one logical reason :
If there or here = subject, why then the verb agrees with the noun comes after there or here ?
if the noun = singular, the verb should be singular as well, and it is the same with plural.
For my question : Which is the subject ?
There are lots of reasons why the road should not have built
This is a complex sentence. It contains main clause ( There are lots of reasons ) and a subordinate clause ( why the road ..)
We know the subordinate clause can't stand alone and the meaning is always in the main clause
The main verb and the main subject are always in the main clause ( principal)
So, omit the subordinate or don't think of it, so that you don't get confused
Clearly and undoubtedly : lots of reasons = the subject

https://www.tolearnenglish.com/forum...2Fthe+subject+

Comparison between there and demonstrative pronouns

Who claim there is a subject \ question tag ?

Though many books apparently tell that ( there or here ) is never the subject, but the noun that follows, some people still stick in their minds agreeing ( there ) = subject and their evidence is that ( there) = the subject in the question tag ?

The idea is not so, it is just special rule (( The matter is not only with there )) ?

Here are examples :

1- There is a cow , isn't there ?

2- This is a cow , isn't it ? Why we don't say [isn't this] ?

3- That is a cow, isn't it? Why we don't say [isn't that]?

4- These are cows, aren't they ? Why we don't say [ aren't these ] ?

5- Those are cows, aren't they ? And not aren't those ?

Consider the following examples :

This is yours, isn’t it? Not isn't this

Those don't work, do they? Those 100 % = subject

However, we don't say : Do those \ are those

1. Hold back
1.(a) Hold somebody/something - back - to prevent somebody/something from moving forward or crowing something e.g.: The police failed to hold back the crowd.
معناها كف \ منع
(b) Hold something - back - to stop yourself from expressing how you really feel.
e.g. She just managed to hold back her distress and tears.
ايضا المعنى = كف \ حبس دموعها وكآبتها
حاولت كف دموعها وكآبتها \ اضطرابها والخ
2 hold down
(a) Hold somebody down - to prevent somebody from having his/her freedom or rights.
e.g. The people were held down by the repressive regime of Stalin.
كبح جماحهم من قبل السلطة \ النظام الغاشم ( القمعي)
(b) Hold something - down - to limit something, esp. a noise.
e.g. Hold the blare of your radio down. because I want to sleep/because I can't endure it.
أخمد \ اخفت صوت المذياع
نلاحظ أن المفعول يأتي بين الفعل وملحقه
3. Hold in
hold something In - to not express how you really feel
e.g. please hold in your anger.
اكتم غضبك , اكتم غيظك \ هدأ من حالك \ تمالك نفسك
4 Hold off
(a) Hold off - (of rain or a storm) to not start
e.g. The rain held off just long enough for us to have our picnic.
بمعنى توقف \ انقطع \ هدأ قليلا
(b) Hold somebody/something - off- to stop somebody/something defeating you
e.g. Nusie held off all the last minute challengers and won the race in a new record time.
التغلب على الخصم \ تملك زمام الأمور
5 Hold on
(a) Hold on - (1) used to tell somebody to wait/stop
e.g. Hold on a minute. as I have to enquire of you something.
الطلب من شخص التوقف بعض الوقت \ توقف يا فلان لي معك كلام
Hold on! This isn't the right road.
توقف يا صاحب هذا ليس الطريق الصحيح \ انك تسلك الطريق المغلوط
(2) to survive in a difficult or dangerous situation
e.g. Some Tsunami stricken people managed to hold on until help arrived.
يمنع \ يعيق يحول دون بقائهم قيد الحياة وربما أماتهم !!
(b) Hold on (to something/somebody)/hold onto something - to keep holding somebody/something.
Hold on and don't let him go until I say so.
أقبض \ امنع شخص ما من الذهاب \ امنعه أن يفلت من يدك حتى أقرر في حال سبيله \ حتى أقول كلمتي بشأنه
(c) hold on to something/hold onto something - to keep something for somebody else or for longer than usual
e.g. I will hold onto your mail until you get back.
يحتفظ \ يبقي على شيء كما لو أمانة أو وديعة
سأحتفط ببريدك حتى تعود
6. Hold out
(a) Hold out - (1) to last. esp. in a difficult situation
e.g. We can stay here as long as our supplies hold out.
نستطيع البقاء ( نقاوم ) طالما مؤننا فيها الكفاية أي بمعنى ( صمود )
طالما مخزوننا من المؤن يكفينا
The house will not hold out more than a year or two.
( يصمد ) الدار لن تصمد طويلا \ لن تقاوم أكثر من سنة أو سنتين
(b) Hold out something - to offer a chance. hope. possibility of something.
e.g. Doctors hold out some hope of her survival.
بمعنى ( يطمأن) يمنح بعض الأمل أو الرجاء
طمأنها الأطباء بعض الأمل في الحياة
7. Hold ....over
Hold something ... over- (usually passive)
(1) to not deal with something immediately: to have something to be dealt with later.
e.g. The matter was held over until the next meeting.
يؤجل
(2) to show a movie, play etc. for longer than planned
e.g. The film proved so popular that it was held over for another week.
يستمر \ يطول عرضه
اثبت الفلم أنه كان مرغوبا لدى الناس( شعبيا ) ,ولهذا استمر عرضه لأسبوع أخر
وتستطيع ترجمة المفردة ب ( رائج )

1
prefer + noun + to + noun

I prefer tea to coffee✔️
Not ( than ) = wrong
I prefer tea than coffee❌
2
prefer + to infinitive + rather than + infinitive with or without to
both are possible
I prefer to read novels rather than (to) watch films

She prefers to go rather than (to) wait for them
3
prefer + ing form + to + ing form
She prefers swimming to fogging.
He prefers playing football to playing tennis
They prefer dancing to singing

The Pied Piper of Hamelin


And honey-bees had lost their stings,
And horses were born with eagles' wings:
And just as I became assured
My lame foot would be speedily cured,
The music stopped and I stood still,
And found myself outside the Hill,
Left alone against my will,
To go now limping as before,
And never hear of that country more!
Alas, alas for Hamelin!
There came into many a burgher's pate
A text which says, that Heaven's Gate
Opes to the Rich at as easy a rate
As the needle's eye takes a camel in!
The Mayor sent East, West, North, and South,
To offer the Piper, by word of mouth,
Wherever it was men's lot to find him,
Silver and gold to his heart's content,
If he'd only return the way he went,
And bring the children behind him.
But when they saw 'twas a lost endeavour,
And Piper and dancers were gone for ever,
They made a decree that lawyers never
Should think their records dated duly
If, after the day of the month and year,
These words did not as well appear,
"And so long after what happened here
"On the Twenty-second of July,
"Thirteen hundred and Seventy-six:"
And the better in memory to fix
The place of the Children's last retreat,
They called it, The Pied Piper's Street —
Where any one playing on pipe or tabor
Was sure for the future to lose his labour.
Nor suffered they Hostelry or Tavern
To shock with mirth a street so solemn;
But opposite the place of the cavern
They wrote the story on a column,
And on the Great Church Window painted
The same, to make the world acquainted
How their children were stolen away;
And there it stands to this very day.
And I must not omit to say
That in Transylvania there's a tribe
Of alien people who ascribe
The outlandish ways and dress
On which their neighbours lay such stress
To their fathers and mothers having risen
Out of some subterraneous prison
Into which they were trepanned
Long time ago in a mighty band
Out of Hamelin town in Brunswick land,
But how or why, they don't understand.
So, Willy, let you and me be wipers
Of scores out with all men — especially pipers:
And, whether they pipe us from rats or from mice,
If we've promised them aught, let us keep our promise.


ذباب النحل لم يعد يلسع كسابق الأوان
والخيل قد ولدت وعليها أجنحة النسور
وما أن شعرت بالطمأنينة حينذاك
بدأت قدمي العرجاء الشفاء على عجل
توقفت أنغام الموسيقى ووقفت متسمر القدمين
ووجدت نفسي بعيدا عن رابية (النكبة)
( هو جبل أو تل في مدينة هاملن الألمانية )
ابتعدت وحيدا حيث شاءت الأقدار
لأواصل طريقي بذات القدم العرجاء
حيث لا اسمع بذاك البلد على الإطلاق
( أي أن صاحب المزمار هو الأخر مات أو رحل دون عودة )
وا أسفاه على ( هاملن )
مواطنون قدموا من شتى الوجوه
نص مقدس يقول أن للجنة أبواب
تفتح للأغنياء دون منة بلا أثمان
ومع أن ذلك مستحيل لكن لهم تباح !
( هنا كناية عمن يبخسون الناس اشيائهم ويقصد الأغنياء بالذات )
أرسل العمدة شرقا وغربا وإلى كل الجهات
يطلب عازف المزمار بشكل شفوي
ليعود به الرجال أي منهم على إنفراد
من ثم يمنحه العمدة الذهب والفضة حتى يرضيه
عله يعود مرة أخرى ولا يقطع بهم الرجاء
ويعود بالأطفال الذين أودعهم للضياع
لكنهم عندما شعروا أن مسعاهم بلا آمال
وأن صاحب المزمار والراقصون ذهبوا دون إياب
على عجل أصدروا مرسوما لا يدققه المحامون
وليس لهم علم هل السجلات مؤرخة بموجب القانون!
وفي الثاني والعشرين من شهر تموز
من عام ألف وثلاثمائة وستة وسبعون
هيئوا أفضل ما لديهم من مال كي يدفعوه
لكن مكان الأطفال أصبح في خبر كان
فأطلقوا على المكان شارع الغواية المشئوم
وكل من يعزف مزمارا أو ينقر الطبول
لن يجد من يستأجره مستقبلا بكل تأكيد
ويحظرون على أنفسهم دار ضيافة أو حانة خمر
ويبقى ذلك الشارع مهابا لا جزل ولا طرب فيه
بل العكس سيكون كهفا معتما وحزين
كتبوا القصة ونظموها في صف طويل
ونقشوها على جدار الكنسية الكبرى ذات الشبابيك
كي يشيع ذكرها وتبقى خالدة مدى الزمان
كيف أن أطفالهم اختلسوا على يد صاحب المزمار
كي تبقى شاهدا حيا يسطر تلك النكبة البغضاء
ومن طرفي لا أكتم الكلام
كان في ترانسيلفانيا رهط من الناس
غرباء لا ينتسبون إلى البلاد
لباسهم غريب وطراز حياتهم غير مألوف
وهكذا جيرانهم في تلك الغلظة على حد سواء
نشئوا بين أبائهم متلقين حضن الرعاية
خارج معتقلات وسراديب تحت الأرض
من هناك حيث ثقبوا لهم منفذا للخروج
اجتمعوا منذ زمن طويل كما لو عصابة
خارج مدينة ( هيلمن) في مقاطعة برونزويك الألمانية
ولكن كيف يفهمون أو لماذا لا يفهمون !
كما (( ويلي )) لمن كتبت له القصيدة
دعنا أنا وأنت نُمحى من الوجود
جميع الرجال محوا ومن ضمنهم الزمارون
سواء من ينفخون المزمار للجرذان أو الفئران
حتى لو أننا تعهدنا لهم بشيء زهيد
دعنا لا نحنث الوعد