jueves, 31 de marzo de 2022

Uso de whose en inglés - Pronombres relativos

Whose cuándo se usa - Pronombres Relativos en inglés

Gramática Inglesa - English Grammar - Recursos Educativos en inglés

Whose - Pronombres relativos en inglés

En este artículo, nos centraremos en el uso de whose en inglés. Te recomiendo que antes leas: Who, which y that - Pronombres Relativos en inglés

¿Cuándo utilizar el pronombre relativo whose?

Whose puede usarse como pronombre relativo y también para hacer una pregunta. Aquí sólo veremos whose como pronombre relativo. Si quieres utilizarlo para hacer una pregunta, puedes leerlo en Preguntas con WH-Questions 02 - When, Which, Whose, How.

Como pronombre relativo, whose se traduce como "cuyo". Whose indica una relación de pertenencia o parentesco.

The woman, whose cat is black, is my mother - La mujer, cuyo gato es negro, es mi madre.

WHOSE se utiliza como pronombre relativo en inglés, cuando conecta dos cosas (o personas) que están relacionadas por posesión, parentesco o pertenencia.

Características de whose como pronombre relativo

Whose debe ir seguido del sustantivo al que se refiere. No se pone un artículo o un sujeto, sino directamente el sustantivo (o grupo nominal).

Después de whose simplemente se pone el nombre.

A person whose father…

Sustituir "whose" por " of which" en algunos casos:

Para las cosas, se puede utilizar of which en lugar de whose. La mayor parte de las veces, esto se hace en el lenguaje escrito.

Cuando whose NO es un pronombre relativo: para hacer una pregunta

Cuando no se trata de un pronombre relativo, whose, when, where, why, etc., se utiliza para formular una pregunta. Para saber más sobre este tema, consulta ⇒ Preguntas con WH-Questions 01 - What, where, why, who y Preguntas con WH-Questions 02 - When, Which, Whose, How

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  • DO y MAKE en inglés ¿Cuáles son las diferencias?
  • Cuándo usar Since, For, Ago: ¿Cuáles son las diferencias?
  • The Gerund - El gerundio en inglés
  • El Imperativo en Inglés - Imperative
  • El comparativo y el superlativo en inglés
  • Preguntas con WH-Questions 01 - What, where, why, who
  • Preguntas con WH-Questions 02 - When, Which, Whose, How
  • Cómo expresar cantidades en inglés
  • Adjectives - Los Adjetivos en Inglés
  • Uso de some / any acompañando nombres contables/incontables
  • Modal verbs - Verbos modales en inglés
  • El tiempo futuro en inglés
  • Present Perfect Progressive - Presente perfecto progresivo
  • Present perfect - El presente perfecto inglés
  • Pretérito progresivo o continuo en inglés
  • Simple past - El pretérito o pasado simple en inglés
  • Presente continuo - Forma Afirmativa - English grammar
  • Presente continuo - Forma Negativa
  • Puntuación en inglés - All about punctuation in English
  • Los verbos Auxiliares en inglés - Auxiliary Verbs
  • Verbos irregulares en inglés, la lista que debes conocer
  • Cómo decir la fecha en inglés - How to say the date in English
  • Construir frases simples - To build a simple sentence
  • Nombres contables e incontables en inglés
  • Presente continuo - Forma Interrogativa
  • Cómo Preguntar y decir el precio en inglés

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Cómo expresar opiniones en inglés

Como expresar una opinión en inglés

Gramática Inglesa - English Grammar - Recursos Educativos en inglés

Saber cómo expresar una opinión en inglés es muy útil en la vida cotidiana. A todos se nos pide con frecuencia que demos nuestra opinión en las conversaciones. Ya sea sobre la última serie que viste, el libro que leíste o cualquier otro tema de la vida diaria, podemos expresarnos -y lo hacemos- sobre cualquier cosa.

Por suerte es bastante sencillo, sólo hay que conocer algunas frases clave para empezar una frase de opinión.

Expresar una opinión en inglés

Con estas tres expresiones, puedes empezar a expresar tu opinión en la mayoría de las conversaciones:

  • In my opinion… - En mi opinión...
  • I think that… - Pienso que...
  • I believe that… - Creo que...

I think that es uno de los más sencillos. I think that it’s true. I think that it’s not true. (Creo que es cierto.Creo que no es cierto).

Para decir que estamos de acuerdo, diríamos:

I agree. (Estoy de acuerdo) Recuerda: No se utiliza así: I am agree.

I disagree. No estoy de acuerdo.

Hay muchas otras muchas expresiones, por ejemplo:

  • I consider that… - Considero que...
  • As far as I’m concerned… En lo que a mí respecta...
  • I must admit that… - Debo admitir que...

*** "According to" se corresponde con "Según". Se utiliza para citar fuentes. Por ejemplo, "According to the lawyer", "según este article", etc.

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  • DO y MAKE en inglés ¿Cuáles son las diferencias?
  • Cuándo usar Since, For, Ago: ¿Cuáles son las diferencias?
  • The Gerund - El gerundio en inglés
  • El Imperativo en Inglés - Imperative
  • El comparativo y el superlativo en inglés
  • Preguntas con WH-Questions 01 - What, where, why, who
  • Preguntas con WH-Questions 02 - When, Which, Whose, How
  • Cómo expresar cantidades en inglés
  • Adjectives - Los Adjetivos en Inglés
  • Uso de some / any acompañando nombres contables/incontables
  • Modal verbs - Verbos modales en inglés
  • El tiempo futuro en inglés
  • Present Perfect Progressive - Presente perfecto progresivo
  • Present perfect - El presente perfecto inglés
  • Pretérito progresivo o continuo en inglés
  • Simple past - El pretérito o pasado simple en inglés
  • Presente continuo - Forma Afirmativa - English grammar
  • Presente continuo - Forma Negativa
  • Puntuación en inglés - All about punctuation in English
  • Los verbos Auxiliares en inglés - Auxiliary Verbs
  • Verbos irregulares en inglés, la lista que debes conocer
  • Cómo decir la fecha en inglés - How to say the date in English
  • Construir frases simples - To build a simple sentence
  • Nombres contables e incontables en inglés
  • Presente continuo - Forma Interrogativa
  • Cómo Preguntar y decir el precio en inglés

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miércoles, 30 de marzo de 2022

DO y MAKE en inglés ¿Cuáles son las diferencias?

Do, make: ¿Cuáles son las diferencias?

La diferencia entre Do y Make en inglés

A veces es difícil diferenciar entre Do y Make en inglés. De hecho, podemos traducir ambos por el verbo "hacer".

En este sentido, estos dos verbos son similares. Pero:

Do ⇒ Hacer en el sentido de actuar. Para "hacer" actividades, o cuando se habla de hacer algo en general.
Make ⇒ Hacer en el sentido de fabricar, crear, construir. (A menudo objetos palpables, que podemos tocar).

En general, Do se utiliza en los siguientes casos:

- Cuando alguien realiza una actividad o un trabajo, por ejemplo:

Do your bed.

Do your food.

Do the homework.

- Y cuando se habla de cosas en general, por ejemplo:

I’m not doing anything today.

I do sport with him.

**** Do también se utiliza de otra manera, como auxiliar. Por ejemplo, para hacer una pregunta (por ejemplo: ¿DO you want...?).

Make se utiliza con mayor frecuencia en los siguientes casos:

- Cuando se trata de construir, crear o fabricar. Ejemplos:

I'm making a cake.

To make hocolate.

Con Make, a menudo se pueden tocar los objetos en cuestión, se crea algo tangible.

Sin embargo, hay, por supuesto, excepciones y expresiones específicas. Por ejemplo:

Make a plan.

Make a suggestion.

Make the most of something.

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Was going to - El futuro en el pasado

What tense is was going to? Uso de was going to

"Sí, iba a hacer la comida, pero finalmente alguien me vino a visitar".

En esta frase "Iba a hacer la comida", es una acción planificada, una intención. Fue una pequeña frase en la que usaste el tiempo futuro en el pasado.

Ahora, lo que aprenderemos es a expresar el mismo tipo de frases en inglés, especialmente con Was going to.

Was going to y el tiempo futuro en el pasado

Podemos utilizar "was going to" para hablar del futuro a partir de un momento del pasado: cuando hablamos de cosas que estaban previstas o de intenciones:

I was going to visit our London house, but my train was delayed. - Iba a visitar nuestra casa de Londres, pero mi tren se retrasó.

*** Es la intención que está en el pasado y que ha cambiado. El tiempo al que se refiere la intención puede ser tanto en el futuro como en el pasado:

Tomorrow we were going to go to the cinema but our car has broken down. Mañana íbamos a ir al cine pero nuestro coche se ha estropeado.

On Monday I was going to meet Anna, but she didn't show up. El lunes iba a quedar con Anna, pero no apareció.

Esta estructura también se utiliza para explicar por qué no se ha producido un hecho, para pedir una disculpa, para explicar un cambio de proyecto, para explicar un contexto:

I was going to invite Anna tonight. Do you think it’s a good idea? - Iba a invitar a Anna esta noche. ¿Crees que es una buena idea?

Hello Anna, I was going to send you a message today, but I totally forgot. Hola Anna, iba a enviarte un mensaje hoy, pero se me olvidó por completo.

We were going to have breakfast together, but we decided to meet for lunch instead. Íbamos a desayunar juntos, pero decidimos reunirnos para almorzar.

Was going to es una forma fácil de recordar para expresar una intención que tenías, o una acción que habías planeado. Por supuesto, hay otras formas de hablar del futuro en el pasado (veremos dos de ellas a continuación), pero si sólo recuerdas Was going to, ya serás capaz de expresarte en la mayoría de las situaciones.

También podemos utilizar los tiempos perfectos con "going to" para expresar diferentes perspectivas en el pasado:

He has been going to clean the garage for months. I don’t think he ever will.

Hay otras estructuras que pueden utilizarse para hablar del futuro en el pasado. El pretérito continuo puede usarse para arreglos en el pasado:

I was meeting the lawyer at 5pm. He quedado con el abogado a las 17h.

En el estilo más formal, "was/were to" puede utilizarse para hablar de planes y acuerdos:

We were to hold a live interview this day, but some technical problems prevented us from doing so. Este día íbamos a realizar una entrevista en directo, pero algunos problemas técnicos nos lo impidieron.

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Cuándo usar Since, For, Ago: ¿Cuáles son las diferencias?

Since, For, Ago: ¿Cuáles son las diferencias?

¿Has confundido alguna vez For y Since, y no has sabido utilizar Ago? Aquí tienes una pequeña explicación para mostrarte las diferencias y ayudarte a ver las cosas más claras.

For y Since

For y Since se traducen ambos como desde. Casi siempre se utilizan con el presente perfecto (o el presente perfecto progresivo).

I haven’t called her for 5 weeks. - No la he llamado desde hace 5 semanas.

I haven’t called her since last may. - No la he llamado desde el pasado mes de mayo.

Después de For ⇒ pon una duración.
Después de Since ⇒ se pone un punto de partida, o una fecha concreta.
Esta es la principal diferencia que hay que recordar entre estas dos palabras.

Ejemplos:

For 25 years
For 7 months
For five hours
For a long time

Since her birthday
Since 2010
Since last year
Since yesterday

Recuerda:

For + duration
Since + punto de partida

Nota: Tiene sentido utilizar el presente perfecto (o el presente perfecto progresivo), en lugar de otro tiempo. En efecto, se utiliza cuando se habla de una acción pasada que está vinculada al presente. Cuando se utiliza la palabra "desde", se suele hablar de algo que sigue vigente.

Ago

Si quieres hablar de una acción pasada, en el pasado, debes decir "hace" en su lugar:

"Conocí a Pablo hace cinco años". Se trata de un suceso concreto que ocurrió hace cinco años.

Así que usamos AGO en inglés:

I met Pablo 5 years ago.

Ago se utiliza siempre junto a un marcador de tiempo. Significa "hace" y se coloca después del marcador de tiempo.

I sent you an email five weeks ago. - Te envié un correo electrónico hace cinco semanas.
I was a police ages ago. - Fui policía hace años.
I finished this film three hours ago! - ¡He terminado esta película hace tres horas!

Ago se utiliza siempre en pretérito.

*** Para los ejercicios de inglés que te piden que elijas entre pretérito y presente perfecto, ya sabes que si ves for o since, debes elegir presente perfecto, y si ves ago, debes poner pretérito.

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martes, 29 de marzo de 2022

Recipe for Mona de Pascua - Easter

recipe for making Mona de Pascua

Cooking recipes - How to Mona de pascua recipe?

Mona de Pascua is a typical recipe for Holy Week and Easter in many Spanish regions, such as Valencia, Catalonia, Murcia, Aragon and the Balearic Islands. It is usually a tradition that the godfather gives the mona to his godchild on Easter Sunday and that several families get together on Easter Monday to eat the mona together.

How to make homemade Mona de Pascua

Ingredients:

  • 500 g flour
  • 1 sachet of dry baker's yeast (12 g) or 25 g of fresh yeast (if you can't find yeast, you can substitute it with 1 tablespoon of bicarbonate of soda and the juice of ½ lemon)
  • 1/4 litre of warm milk
  • 100 g melted butter
  • 80 g sugar
  • 1 egg
  • 1 pinch of salt

To "paint" the dough

  • 1 egg yolk
  • 1 tablespoon of milk

For the decoration

  • Coloured anisettes, chocolate balls, sultanas, cherries for decoration, sliced almonds...
  • Boiled eggs painted with food colouring or chocolate eggs.

Steps for making mona de pascua:

  1. Put the flour in a bowl. Add the dry yeast and mix well with a fork. Add the rest of the ingredients: the butter (previously melted in the microwave), the milk, the sugar, the egg and a pinch of salt.
  2. If you do not have yeast: mix the flour, butter, sugar, milk, egg and a pinch of salt. Once the mixture is homogeneous, add the juice of half a lemon and a spoonful of bicarbonate and again stir well to mix everything together.
  3. Knead it and shape the dough into a round shape with your hands, leaving a dough like the one in the image.
  4. Cover the bowl with a cloth and put it in the oven for about 20-30 minutes at a maximum temperature of 50 degrees, leaving the oven door ajar with a wooden spoon, until we see that the dough has risen, that is, that it has visibly increased in volume. It can also be heated in the microwave by covering the bowl with a damp cloth at 80-90 watts for about 8 minutes.
  5. While the dough is rising, cover a baking tray with baking paper. Once the dough has risen, divide it into 4 or 5 parts depending on the number of "monas" you want to make and the size. Here we have to let our imagination run wild to shape the dough into the figures we want: A rabbit, a turtle, a nest, a plait, but you can make as many as you can think of, decorating with coloured balls, painted boiled eggs, slivered almonds, sugar...
  6. Put them in the oven for another 10 minutes at a maximum temperature of 50 degrees, so that the dough continues to rise. Once we have our figures ready, we mix an egg yolk with a spoonful of milk and paint the monkeys with this mixture, so that they brown in the oven. We add any decoration we can think of to finish our figures, for example, we use sultanas for the eyes, a cherry for the nose, coloured balls, chocolate balls and sliced almonds to decorate.
  7. With our figures ready and decorated, we put them in the oven preheated to 200º for about 25-30 minutes, until we see that they are ready and have taken a suitable colour.
  8. Take them out of the oven, leave them to cool, add the painted or chocolate eggs as decoration and our Easter cakes are ready to eat. Aren't they "cute"?
  9. To eat them, we can spread them with butter, jam, a bit of cheese... Accompanied by a hot chocolate, we have a great breakfast or snack for Easter, or for any occasion.

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Recipe for chocolate Easter eggs

recipe for making chocolate Easter eggs

Cooking recipes - How to make chocolate Easter eggs?

Making homemade chocolate eggs is not that complicated! The proof is in the pudding with this
quick and easy recipe.

The main thing is to temper the chocolate well so that it is smooth and shiny. Children will enjoy decorating the eggs as they see fit. Dark chocolate,
white or milk chocolate, you can choose your favourite flavours.

A great way to celebrate Easter

Ingredients for the chocolate Easter eggs:

For 2 large eggs:

  • 500 g chocolate (dark, milk, white)

Steps for making chocolate Easter eggs:

1. Pour the crushed chocolate into a container. Melt in a bain-marie or in the microwave
without exceeding 45-50°C. Mix well so that the chocolate is smooth.

2. Pour the melted chocolate onto a cold plate or marble to cool to 25°C.
When the temperature is reached, return the chocolate to a container and heat to 30- 32°C.
32°C.

3. Using a small ladle, pour some of the chocolate into your mould. Turn the mould over to remove the excess chocolate. Place the mould in the refrigerator for a few hours so that the chocolate
the chocolate to harden.

4. After the resting time, carefully remove the egg shells from the mould. To weld them together, place one of the one of the shells over a pan of hot water. When the chocolate is slightly melted, weld the shells together.
When the chocolate is slightly melted, weld the shells together. Leave to dry for a few hours at room temperature.

Tip: Children can decorate these chocolate eggs in many different ways. You can for example, melt some of the chocolate and place it in a paper cone or a baking pen.
All they have to do is draw on the shells: arabesques, dots, flowers...

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Easter - Pascua en inglés - Banco de Recursos

Pascua - Easter - Fechas Especiales

Pascua - Easter Celebraciones - Celebrations

Recursos y materiales gratis en inglés, para Pascua - Easter.

Easter: the Christian story of Easter

The Christian festival of Easter is the celebration of the resurrection of Jesus Christ. In the early days of Christianity, Christian Easter coincided with the Jewish Easter. At that time the calendar used to fix the date of Easter was the Jewish or Babylonian calendar. The resurrection of Jesus Christ fell on the 14th day of Nissan at the same time as Pesach, the Jewish Passover.

The Council of Nicaea in 325 and the beginning of the differences

Constantine I convened the Council of Nicaea in 325 where it was decided that all Christians would celebrate Easter on the first Sunday after the full moon following the spring equinox. To avoid confusion with the Jewish festival, Easter was to be shifted by one week in years when the equinox corresponded to Pesach.

Alexandria wanted to keep the date of 14 Nissan as Easter, while Rome wanted Easter to fall on a Sunday, regardless of the Babylonian calendar. This also made it possible to clearly distinguish Christian Easter from Passover.

In practice, the shifts of the Julian calendar with the solar and lunar year did not allow the Christians to respect the terms of the council. The date of Easter varied according to the regions of the world. On several occasions, Rome tried to reform the method of calculating the date of Easter, but each time it met with resistance from certain churches, such as the Church of Ireland.

It was not until the reform of the Gregorian calendar that a new common rule was adopted around 1582.

The calculation of the date of Easter remains a complex one, since Easter falls on the first Sunday after the first full ecclesiastical moon in spring. In addition, Easter must fall between 22 March and 25 April.

The highlights of Easter for Christians

The Easter period is marked by several highlights for Christians which are Lent, Palm Sunday, Good Friday and Easter Sunday.

Lent :

Preparations for Easter begin at the end of Shrove Tuesday with Ash Wednesday, which marks the beginning of Lent. On Ash Wednesday, Christians go to church for the distribution of Ashes. It is a day of self-examination and repentance. Ashes remind us that man is dust and will return to dust.

Lent was strictly observed until the beginning of the 20th century. For 40 days, equivalent to the 40 days spent by Jesus Christ in the desert, Christians follow a half fast during which certain rich and meaty foods are forbidden. The period of Lent is a time of purification and spiritual elevation in preparation for the resurrection of Jesus Christ.

Palm Sunday:

Palm Sunday precedes Easter Sunday and celebrates the arrival of Jesus in Jerusalem. Jesus was celebrated on his arrival, with people spreading palm branches under his feet as a carpet.

On Palm Sunday, Christians have branches of palm, boxwood or yew blessed, which are supposed to protect them from evil throughout the year. These branches are often decorated with sugar or marzipan decorations. In English-speaking countries this is called Willow, Yew or Blossom Sunday.

Good Friday

Good Friday is a very important day in the Christian religion, but also a very sad one as it commemorates the crucifixion of Christ.

Good Friday is the Friday after Palm Sunday, the day Jesus Christ died on the cross. It is the saddest and darkest day in Christianity. Therefore, Christians all over the world follow the Way of the Cross of Jesus Christ. Each station is an opportunity to recall an important stage of his ordeal and to pray.

Easter Sunday:

Easter Day celebrates the resurrection of Jesus Christ. It is the day when Jesus' disciples went to his tomb to find it empty. On their way back they met the risen Jesus and began to spread the good news.

Easter is a day of celebration and joy. All the prohibitions of Lent are lifted on this day. The Easter period is called the Paschal season. Traditionally, the Paschal lamb is eaten on Easter Day.

Where does the custom of Easter eggs come from?

From the simple coloured hard-boiled egg to the most prestigious Fabergé eggs, the Easter egg has remained a tradition throughout the world. In Italy, Easter eggs are still blessed and placed in the centre of the table. Russian and Ukrainian Easter eggs are real works of art, with very symbolic and geometric designs and colours, with Christian representations such as the cross and Christ himself.

In the West, in the countryside or in the gardens of the city house, a mysterious egg hunt is organised in the early hours of Easter morning. According to tradition, on their way back from Rome, the bells, which have been silent since Maundy Thursday evening, spread eggs, bells, casseroles and other delicacies. The custom of giving chocolate eggs or bunnies is of commercial origin.

Pascua - Easter - Fechas Especiales

The German tradition is to hide them in an invisible white rabbit for children. In the United States and Alsace, it is a hare; in Thuringia, a stork; in Westphalia, a fox; in Switzerland, a cuckoo.

Ancient origins

The custom of giving decorated, dyed or worked eggs existed long before the Christian era. As spring is the season of nature's blossoming, the egg, representing life and rebirth, was probably the first symbol used in rituals dating back to ancient times. In spring, the Egyptians and Persians used to dye eggs and offer them as a symbol of the renewal of life. In ancient Gaul, the druids dyed eggs red in honour of the sun.

For the Jews, the egg is the symbol of life but also of death. The liberation of the Hebrew people cost many lives, and happiness is never absolute for the Hebrews. At Passover, Jews dip an egg in salt water in memory of all the tears shed after the loss of their independence.

A Christian custom

Many pagan festivals therefore celebrated the resurrection of nature symbolised by the egg, the bearer of a life-giving seed. But it was most probably the Church's ban on eating eggs during Lent until the 17th century that gave rise to the Easter egg tradition. As the hens could not be prevented from laying eggs, they were carefully kept until Easter, when the stock had to be sold!

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domingo, 27 de marzo de 2022

Modal verbs - Verbos modales en inglés

¿Cuándo usamos Modal verbs - Verbos modales en inglés?

¿Qué son los verbos modales?

En inglés, los modales (plural de modal) no son palabras que deban interpretarse como si tuvieran un significado. Más que significar algo, los modales ingleses tienen una función.

Para hacer una comparación, tomemos la palabra -de-. por si sola no tiene ningún significado, porque es una palabra que tiene una función. En cambio, si digo "es la casa de Elena", entonces entendemos el significado de la palabra (la casa pertenece a Elena).

Lo mismo ocurre con los modales. Cada modalidad tiene una o varias funciones particulares.

Para entender los modales, primero haremos una lista de modales y explicaremos cómo se comportan en las frases: se comportan como auxiliares. Luego veremos qué funciones realizan.

Lista de verbos modales

Hay 9 modales:

  1. Can
  2. Could
  3. May
  4. Might
  5. Must
  6. Should
  7. Will
  8. Would
  9. Shall

Las tres peculiaridades de los modales 

Cuando construyas una frase con un modal, debes respetar estas tres reglas:

1) Son invariables. Sea cual sea el tiempo de la frase, el sujeto de la misma, los modales se escribirán siempre de la misma manera. Por ejemplo:

I Could
You Could
He Could
We Could
You Could
They Could

Esto no debe confundirse con los verbos "normales" que llevan una S en la tercera persona del singular en tiempo presente (por ejemplo: she reads). Con los modales, siempre es igual.

2) Van seguidos de una base verbal. Es decir, un verbo, en infinitivo, sin el TO delante. Por ejemplo:

I can call you the monday. Puedo llamarte el lunes.

No se utiliza "To call". Solo CALL.

Esta base verbal también es invariable. No cambia, sea cual sea el sujeto.

3) Se comportan como auxiliares (porque SON auxiliares) en oraciones negativas e interrogativas. Así que no necesitas los auxiliares DO, HAVE o BE.

Esto significa que nunca dirás "I don’t may". Dirás "I may not". Del mismo modo, al hacer una pregunta, nunca dirás "¿Do you will...?", sino que dirás "¿Will you...?".

Esta es la lista de formas negativas de los modales:

  1. May - may not
  2. Might - might not
  3. Can - can’t o cannot
  4. Could - couldn’t o could not
  5. Must - mustn’t o must not
  6. Should - shouldn’t o should not
  7. Will - won’t o will not
  8. Would - wouldn’t o would not

Para las formas interrogativas, simplemente se invierte el sujeto y el modal.

I will - will you…?
I might - might I…?
I can - can you…?

¿Qué funciones tiene cada modalidad?

Los modales pueden tener una o varias funciones según el contexto. Aquí tienes un resumen general.

May

Forma afirmativa: expresa la probabilidad 

Lo que puede ocurrir: It may snow again tomorrow. Puede que mañana vuelva a nevar.

Lo que puede ser cierto: What you’re saying may be true. Lo que dices puede ser cierto.

También puede expresar permiso: You may eat now. Ya puedes comer.

Forma negativa: May not

Lo que no puede ocurrir.

Lo que puede no ser cierto.

También puede expresar una prohibición categórica. You may not eat here. No se puede comer aquí.

Forma interrogativa: May I…?

En una pregunta, may se utiliza para pedir permiso, pero de una forma aún más educada que con can y could. - May I eat here?

Might

Forma afirmativa:

El modal Might es un sinónimo de may. What you’re saying might be true. Lo que dices puede ser cierto.

Forma negativa:

Might not.

Forma interrogativa:

Una petición aún más educada que con MAY (raramente se ve).

Can

Forma afirmativa:

Lo que uno es capaz de hacer: I can read this book. Puedo leer este libro (soy capaz).

Lo que está permitido: I can go out tomorrow. Puedo salir mañana (se me permite).

Forma negativa:

Cannot o can't.

Lo que no puedes hacer.
Lo que está prohibido.

Forma interrogativa:

Can I…?

Pedir permiso o hacer una petición. Dad, can I go to the theater tomorrow? - Papá, ¿puedo ir al teatro mañana?

Could

Forma afirmativa:

Lo que uno podría hacer: If I had a pool, I could swim. Si tuviera una piscina, podría nadar.

Qué podría pasar si...

Could también puede ser el tiempo pasado de - can -.I could see you. Te pude ver.

Forma negativa

Could not o couldn’t

Similar a la forma afirmativa. I couldn't see you. No pude verte.

Forma interrogativa:

Pedir un favor o un permiso de forma educada. Could you help me?

Must

Forma afirmativa:

 El modal Must transmite un deber, una obligación. Lo que debes hacer.- I must clean my house today. Hoy debo limpiar mi casa.

Must también puede expresar una certeza. It must be half past five. - Sin duda, deben ser las 5 y media.

Forma negativa:

Mustn't o must not.

Esta forma expresa una prohibición.

Should:

Forma afirmativa:

El modal should expresa un deber, como must, pero con menos fuerza. Se utiliza para expresar lo que se debe hacer. A menudo se utiliza para dar consejos. (ej.: You must read more - Debes leer más).

Forma negativa:

Should't o should not

El mismo significado que la forma afirmativa. You shouldn't go out today - No deberías salir hoy.

Forma interrogativa:

Should I…?

Will:

Forma afirmativa :

Expresión del tiempo futuro: Como ver en la lección sobre el tiempo futuro en inglés, el modal will se utiliza principalmente para expresar el futuro. (Como el tiempo futuro no existe como tiempo gramatical en inglés, se construye con el modal will).

Ejemplos: I will be 30 next month. El mes que viene cumpliré 30 años.

También se suele utilizar la forma contraída de will: "ll. - I'll be 30 next month.

Will también puede expresar la voluntad o la toma de decisiones.

Forma negativa:

Will not o won't.

Expresar el futuro.

Puede utilizarse para expresar una prohibición. Dad won't let me go out. Papá no me deja salir.

Forma interrogativa:

Para pedir un favor, por ejemplo. Will you help me?

Would

La función principal del modal sería expresar el condicional. 

Ejemplos: It would be cool to meet Italy. Sería genial conocer Italia.

I wouldn’t want to travel to Italy. No me gustaría viajar a Italia.

También se utiliza la forma contraída en 'D: It’d be cool to meet Italy.

Shall:

Ya casi no se utiliza. Sólo se utiliza para hacer sugerencias, normalmente en forma interrogativa:

Ejemplo: ¿Tomamos un taxi? ¿Tomamos un taxi?

En el inglés británico shall también puede usarse como el equivalente en tercera persona del singular de will, aunque esta forma se ve raramente hoy en día.

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El tiempo futuro en inglés

¿Cuándo usamos El tiempo futuro en inglés?

El tiempo futuro no es un tiempo gramatical en inglés. Este tiempo no existe como tal en la lengua inglesa, pero se construye con diferentes palabras. Por ejemplo con WILL, que es la forma más común de expresar el futuro. También hay que ir a por el futuro inmediato. A veces incluso utilizamos el tiempo presente para hablar del futuro. Por ejemplo: What are you doing tomorrow?

Will

Construcción:

La palabra will es un modal. Es la palabra más común para hablar en tiempo futuro. Una frase en tiempo futuro con will se construye de la siguiente manera:

Sujeto + WILL + Base Verbal.

I will cook for lunch. Voy a cocinar para el almuerzo.

Después de WILL, como después de todos los modales, los verbos son INVARIABLES, y nunca se poneTO.

Forma negativa :

I will not cook for lunch.

I won’t cook for lunch. (forma contraída).

Forma interrogativa:

La voluntad toma el papel de auxiliar, por lo que no son necesarios los auxiliares hacer, tener o ser.

Will you cook for lunch?

¿Cuándo se usa?

Will se utiliza para hablar de un futuro casi seguro (por ejemplo: I will be 30 next year).
También se utiliza para enfatizar la expresión de la voluntad. Implica que la decisión se acaba de tomar. (Si la decisión es anterior al momento de hablar, no se suele usar).

Ejemplo: I will have an ice coffe. Tomaré un café con hielo.

Be going to + Verbo

I am going to write. - Voy a escribir.

I am going to run soon. - Voy a correr pronto.

También se utiliza para hacer predicciones basadas en pistas presentes. Por ejemplo: Be careful, you’re going to burnt! - ¡Ten cuidado, te vas a quemar!

Por último, se utiliza cuando la decisión se ha tomado antes del momento de hablar (a diferencia de la voluntad, que se utiliza para expresar una decisión que se acaba de tomar). Por ejemplo: I am going to take a coffee cup.

Por último, be going to + verbo puede utilizarse cuando se da una orden, o se utiliza una forma de autoridad.

Now you’re going to get in the bus and leave this village as soon as you can. Ahora vas a subir al autobús y dejar este pueblo tan pronto como puedas.

Ten en cuenta que en el lenguaje coloquial, going to se dice a veces gonna. Por ejemplo: You’re gonna go - o - you gonna go.

Otras formas de hablar en el futuro:

A veces se utiliza el presente para hablar en futuro.

Ejemplo: The train arrives today at 5pm. El barco llega hoy a las 17 horas.

Hablar de una acción que realmente está a punto de ocurrir.

Hello? Good morning Cris, I was just about to call you! - Hola? Buenos días Cris, ¡estaba a punto de llamarte! 

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El comparativo y el superlativo en inglés

El comparativo y el superlativo en inglés

El comparativo y el superlativo en inglés se utilizan para hacer comparaciones. En esta lección veremos cómo utilizarlos.

Empezaremos por ver cómo utilizar la comparativa. Y a continuación, veremos el superlativo.

Adjetivos largos: more / the most (excepto los que terminan en Y)
Adjetivos cortos: -er / the -est
Igualdad: as + adjetivo + as

El comparativo inglés

En primer lugar, ¿Qué es una comparativa? Es muy sencillo, por ejemplo, si digo que Ana es más alta que Elena, o que esta pelota es más roja que aquella, estoy haciendo una comparación.

Comparativo de superioridad en inglés:

Se utiliza cuando queremos decir "más que...".

Con los adjetivos largos, utilizaremos las palabras More... than

Es muy sencillo. Veamos algunos ejemplos:

He is more handsome than me. Es más guapo que yo.
The black bag is more elegant than the green one. El bolso negro es más elegante que el verde.

Utilizamos More... than para los adjetivos que tienen dos o más sílabas (adjetivos largos), excepto los que terminan en y.

Con los adjetivos cortos (los de una sola sílaba), simplemente añadiremos -er al final del adjetivo, y luego than. Con los adjetivos que terminan en Y, simplemente sustituiremos la Y por -ier, y luego por than.

Veamos algunos ejemplos, para que quede más claro:

She is smarter than me.

He’s happier now.

Comparativo de igualdad en inglés

Utilizamos la comparativa de igualdad cuando queremos decir "tanto como...".
Por ejemplo: Él es tan bueno como tú.

En inglés, se utiliza :

as + adjetivo + as

She is as nice as you.
The movie is as good as the book.

Comparativo de inferioridad en inglés

Se utiliza para decir "menos... que".
Para ello, utilizamos las palabras Less... than

Joan is less happy than Louise.
She is less young than you.

El superlativo inglés

El superlativo inglés se utiliza para comparar un elemento con todo un grupo. Esto significa que se utiliza para decir "el más... de".
Por ejemplo:

El más fuerte del equipo.

El más rápido de la clase.

Superlativo de superioridad en inglés

Con los adjetivos de más de dos sílabas, utilizamos las palabras The most...

Pongamos algunos ejemplos:

He is the most handsome man I have ever seen.
Jhon is the most gifted musician in the orchestra.
The President is the most powerful man the country.

Para los adjetivos cortos, utilizaremos la terminación -est
Por ejemplo:

Marco is the oldest man in the city.
This is the fastest plane in the world.

Por último, para los adjetivos terminados en -Y, utilizaremos la terminación -iest y la Y desaparece. - He the happiest man I’ve seen.

Como puedes ver, se añade un elemento, un grupo o una categoría de comparación a la frase: “In the world” “in the city”, etc.

Superlativo de inferioridad en inglés

Se utiliza cuando se quiere decir "el menos... de"
Por ejemplo: El más barato del mercado.

Para ello, utilizamos las palabras The least + adjetivo
Ejemplo:

This is the least expensive house that I have ever seen.

Comparativos y superlativos irregulares en inglés

Good ⇒ better ⇒ the best

Bad ⇒ worse ⇒ the worst

Far ⇒ farther/further ⇒ the farthest/the furthest.

*** En inglés, la gente no utiliza mucho los comparativos y superlativos de inferioridad. En cambio, prefieren utilizar el comparativo y el superlativo de superioridad. Por ejemplo, en lugar de decir: "Luis is less tall than Juan", dirán "Juan is taller than Luis". Ambas son correctas, pero la segunda se utiliza con más frecuencia.

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sábado, 26 de marzo de 2022

Poems Of About Edgar Guest - Poemas en inglés

edgar guest

Recursos Educativos en Inglés - Poems in English - Poesías en inglés

Story Telling - Edgar Guest

Most every night when they're in bed,
And both their little prayers have said,
They shout for me to come upstairs
And tell them tales of gypsies bold,
And eagles with the claws that hold
A baby's weight, and fairy sprites
That roam the woods on starry nights.

And I must illustrate these tales,
Must imitate the northern gales
That toss the native man's canoe,
And show the way he paddles, too.
If in the story comes a bear,
I have to pause and sniff the air
And show the way he climbs the trees
To steal the honey from the bees.

And then I buzz like angry bees
And sting him on his nose and knees
And howl in pain, till mother cries:
"That pair will never shut their eyes,
While all that noise up there you make;
You're simply keeping them awake."
And then they whisper: "Just one more,"
And once again I'm forced to roar.

New stories every night they ask.
And that is not an easy task;
I have to be so many things,
The frog that croaks, the lark that sings,
The cunning fox, the frightened hen;
But just last night they stumped me, when
They wanted me to twist and squirm
And imitate an angle worm.

At last they tumble off to sleep,
And softly from their room I creep
And brush and comb the shock of hair
I tossed about to be a bear.
Then mother says: "Well, I should say
You're just as much a child as they."
But you can bet I'll not resign
That story telling job of mine.

Being Brave At Night - Edgar Guest

The other night 'bout two o'clock, or maybe it was three,
An elephant with shining tusks came chasing after me.
His trunk was wavin' in the air an' spoutin' jets of steam
An' he was out to eat me up, but still I didn't scream
Or let him see that I was scared - a better thought I had,
I just escaped from where I was and crawled in bed with dad.

One time there was a giant who was horrible to see,
He had three heads and twenty arms, an' he came after me
And red hot fire came from his mouths and every hand was red
And he declared he'd grind my bones and make them into bread.
But I was just too smart for him, I fooled him might bad,
Before his hands could collar me I crawled in bed with dad.

I ain't scared of nothin that comes pesterin' me at night.
Once I was chased by forty ghosts all shimmery an' white.
An' I just raced 'em round the room an' let 'em think maybe
I'd have to stop an' rest awhile, when they could capture me.
Then when they leapt onto my bed, Oh Gee! But they were mad
To find that I had slipped away an' crawled in bed with dad.

No giants, ghosts or elephants have dared to come in there
'Coz if they did he'd beat 'em up and chase 'em to their lair.
They just hang 'round the children's rooms
an' snap an' snarl an' bite
An' laugh if they can make 'em yell
for help with all their might.
But I don't ever yell out loud. I'm not that sort of lad,
I slip from out the covers and I crawl in bed with dad.

The Stick-Together Families - Edgar Guest

The stick-together families are happier by far
Than the brothers and the sisters who take separate highways are.
The gladdest people living are the wholesome folks who make
A circle at the fireside that no power but death can break.
And the finest of conventions ever held beneath the sun
Are the little family gatherings when the busy day is done.

There are rich folk, there are poor folk, who imagine they are wise,
And they're very quick to shatter all the little family ties.
Each goes searching after pleasure in his own selected way,
Each with strangers likes to wander, and with strangers likes to play.
But it's bitterness they harvest, and it's empty joy they find,
For the children that are wisest are the stick-together kind.

There are some who seem to fancy that for gladness they must roam,
That for smiles that are the brightest they must wander far from home.
That the strange friend is the true friend, and they travel far astray
they waste their lives in striving for a joy that's far away,
But the gladdest sort of people, when the busy day is done,
Are the brothers and the sisters who together share their fun.

It's the stick-together family that wins the joys of earth,
That hears the sweetest music and that finds the finest mirth;
It's the old home roof that shelters all the charm that life can give;
There you find the gladdest play-ground, there the happiest spot to live.
And, O weary, wandering brother, if contentment you would win,
Come you back unto the fireside and be comrade with your kin.

Equipment - Edgar Guest

Figure it out for yourself, my lad,
You've all that the greatest of men have had,
Two arms, two hands, two legs, two eyes,
And a brain to use if you would be wise.
With this equipment they all began,
So start for the top and say "I can."

Look them over, the wise and great,
They take their food from a common plate
And similar knives and forks they use,
With similar laces they tie their shoes,
The world considers them brave and smart.
But you've all they had when they made their start.

You can triumph and come to skill,
You can be great if only you will,
You're well equipped for what fight you choose,
You have legs and arms and a brain to use,
And the man who has risen, great deeds to do
Began his life with no more than you.

You are the handicap you must face,
You are the one who must choose your place,
You must say where you want to go.
How much you will study the truth to know,
God has equipped you for life, But He
Lets you decide what you want to be.

Courage must come from the soul within,
The man must furnish the will to win,
So figure it out for yourself, my lad,
You were born with all that the great have had,
With your equipment they all began.
Get hold of yourself, and say: "I can."

See It Through - Edgar Guest

When you’re up against a trouble,
Meet it squarely, face to face;
Lift your chin and set your shoulders,
Plant your feet and take a brace.
When it’s vain to try to dodge it,
Do the best that you can do;
You may fail, but you may conquer,
See it through!

Black may be the clouds about you
And your future may seem grim,
But don’t let your nerve desert you;
Keep yourself in fighting trim.
If the worst is bound to happen,
Spite of all that you can do,
Running from it will not save you,
See it through!

Even hope may seem but futile,
When with troubles you’re beset,
But remember you are facing
Just what other men have met.
You may fail, but fall still fighting;
Don’t give up, whate’er you do;
Eyes front, head high to the finish.
See it through!

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Poems Of Abbie Farwell Brown - Poemas en inglés

abbie farwell brown

Recursos Educativos en Inglés - Poems in English - Poesías en inglés

Friends - Abbie Farwell Brown

How good to lie a little while
And look up through the tree!
The Sky is like a kind big smile
Bent sweetly over me.

The Sunshine flickers through the lace
Of leaves above my head,
And kisses me upon the face
Like Mother, before bed.

The Wind comes stealing o'er the grass
To whisper pretty things;
And though I cannot see him pass,
I feel his careful wings.

So many gentle Friends are near
Whom one can scarcely see,
A child should never feel a fear,
Wherever he may be.

The Fisherman - Abbie Farwell Brown

The fisherman goes out at dawn
When every one's abed,
And from the bottom of the sea
Draws up his daily bread.

His life is strange ; half on the shore
And half upon the sea
Not quite a fish, and yet not quite
The same as you and me.

The fisherman has curious eyes;
They make you feel so queer,
As if they had seen many things
Of wonder and of fear.

They're like the sea on foggy days,
Not gray, nor yet quite blue;
They 're like the wondrous tales he tells
Not quite yet maybe true.

He knows so much of boats and tides,
Of winds and clouds and sky!
But when I tell of city things,
He sniffs and shuts one eye!

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viernes, 25 de marzo de 2022

Poems Of William Blake - Poemas en inglés

willian blake

Recursos Educativos en Inglés - Poems in English - Poesías en inglés

The Tyger - Poems - William Blake

Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?

In what distant deeps or skies
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand dare seize the fire?

And what shoulder, and what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? and what dread feet?

What the hammer? what the chain?
In what furnace was thy brain?
What the anvil? what dread grasp
Dare its deadly terrors clasp?

When the stars threw down their spears,
And watered heaven with their tears,
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye,
Dare frame thy fearful symmetry?

The Sick Rose - William Blake

O Rose, thou art sick!
The invisible worm
That flies in the night,
In the howling storm,
Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.

A Cradle Song - William Blake

Sweet dreams form a shade
O'er my lovely infant's head;
Sweet dreams of pleasant streams
By happy, silent, moony beams.

Sweet sleep with soft down
Weave thy brows an infant crown.
Sweet sleep, Angel mild,
Hover o'er my happy child.

Sweet smiles in the night
Hover over my delight;
Sweet smiles, Mother's smiles,
All the livelong night beguiles.

Sweet moans, dovelike sighs,
Chase not slumber from thy eyes.
Sweet moans, sweeter smiles,
All the dovelike moans beguiles.

Sleep sleep, happy child,
All creation slept and smil'd;
Sleep sleep, happy sleep,
While o'er thee thy mother weep.

Sweet babe, in thy face
Holy image I can trace.
Sweet babe, once like thee,
Thy maker lay and wept for me,

Wept for me for thee for all,
When he was an infant small.
Thou his image ever see.
Heavenly face that smiles on thee,

Smiles on thee on me on all,
Who became an infant small,
Infant smiles are His own smiles,
Heaven & earth to peace beguiles.

On Another's Sorrow - William Blake

Can I see another's woe,
And not be in sorrow too?
Can I see another's grief,
And not seek for kind relief?

Can I see a falling tear,
And not feel my sorrow's share?
Can a father see his child
Weep, nor be with sorrow filled?

Can a mother sit and hear
An infant groan, an infant fear?
No, no! never can it be!
Never, never can it be!
And can He who smiles on all
Hear the wren with sorrows small,
Hear the small bird's grief and care,
Hear the woes that infants bear --

And not sit beside the next,
Pouring pity in their breast,
And not sit the cradle near,
Weeping tear on infant's tear?

And not sit both night and day,
Wiping all our tears away?
Oh no! never can it be!
Never, never can it be!
He doth give his joy to all:
He becomes an infant small,
He becomes a man of woe,
He doth feel the sorrow too.

Think not thou canst sigh a sigh,
And thy Maker is not by:
Think not thou canst weep a tear,
And thy Maker is not near.

Oh He gives to us his joy,
That our grief He may destroy:
Till our grief is fled an gone
He doth sit by us and moan.

Thanks so much to Dennis, for sending in this poem

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Poems Of Sara Teasdale - Poemas en inglés

sara teasdale

Recursos Educativos en Inglés - Poems in English - Poesías en inglés

May - Sara Teasdale

The wind is tossing the lilacs,
The new leaves laugh in the sun,
And the petals fall on the orchard wall,
But for me the spring is done.

Beneath the apple blossoms
I go a wintry way,
For love that smiled in April
Is false to me in May.

The Kiss - Sara Teasdale

I hoped that he would love me,
And he has kissed my mouth,
But I am like a stricken bird
That cannot reach the south.

For though I know he loves me,
To-night my heart is sad;
His kiss was not so wonderful
As all the dreams I had.

Barter - Sara Teasdale

Life has loveliness to sell,
All beautiful and splendid things,
Blue waves whitened on a cliff,
Soaring fire that sways and sings,
And children's faces looking up
Holding wonder like a cup.

Life has loveliness to sell,
Music like a curve of gold,
Scent of pine trees in the rain,
Eyes that love you, arms that hold,
And for your spirit's still delight,
Holy thoughts that star the night.

Spend all you have for loveliness,
Buy it and never count the cost;
For one white singing hour of peace
Count many a year of strife well lost,
And for a breath of ecstasy
Give all you have been, or could be.

I Am Not Yours - Sara Teasdale

I am not yours, not lost in you,
Not lost, although I long to be
Lost as a candle lit at noon,
Lost as a snowflake in the sea.

You love me, and I find you still
A spirit beautiful and bright,
Yet I am I, who long to be
Lost as a light is lost in light.

Oh plunge me deep in love - put out
My senses, leave me deaf and blind,
Swept by the tempest of your love,
A taper in a rushing wind.

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Poems Of Maya Angelou - Poemas en inglés

maya angelou

Recursos Educativos en Inglés - Poems in English - Poesías en inglés

Alone - Maya Angelou

Lying, thinking
Last night
How to find my soul a home
Where water is not thirsty
And bread loaf is not stone
I came up with one thing
And I don’t believe I’m wrong
That nobody,
But nobody
Can make it out here alone.

Alone, all alone
Nobody, but nobody
Can make it out here alone.

There are some millionaires
With money they can't use
Their wives run round like banshees
Their children sing the blues
They've got expensive doctors
To cure their hearts of stone.
But nobody
No, nobody
Can make it out here alone.

Alone, all alone
Nobody, but nobody
Can make it out here alone.

Now if you listen closely
I'll tell you what I know
Storm clouds are gathering
The wind is gonna blow
The race of man is suffering
And I can hear the moan,
'Cause nobody,
But nobody
Can make it out here alone.

Alone, all alone
Nobody, but nobody
Can make it out here alone.

Human Family - Maya Angelou

I note the obvious differences
in the human family.
Some of us are serious,
some thrive on comedy.

Some declare their lives are lived
as true profundity,
and others claim they really live
the real reality.

The variety of our skin tones
can confuse, bemuse, delight,
brown and pink and beige and purple,
tan and blue and white.

I've sailed upon the seven seas
and stopped in every land,
I've seen the wonders of the world
not yet one common man.

I know ten thousand women
called Jane and Mary Jane,
but I've not seen any two
who really were the same.

Mirror twins are different
although their features jibe,
and lovers think quite different thoughts
while lying side by side.

We love and lose in China,
we weep on England's moors,
and laugh and moan in Guinea,
and thrive on Spanish shores.

We seek success in Finland,
are born and die in Maine.
In minor ways we differ,
in major we're the same.

I note the obvious differences
between each sort and type,
but we are more alike, my friends,
than we are unalike.

We are more alike, my friends,
than we are unalike.

We are more alike, my friends,
than we are unalike.

Still I Rise - Maya Angelou

You may write me down in history
With your bitter, twisted lies,
You may tread me in the very dirt
But still, like dust, I'll rise.

Does my sassiness upset you?
Why are you beset with gloom?
'Cause I walk like I've got oil wells
Pumping in my living room.

Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I'll rise.

Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops.
Weakened by my soulful cries.

Does my haughtiness offend you?
Don't you take it awful hard
'Cause I laugh like I've got gold mines
Diggin' in my own back yard.

You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I'll rise.

Does my sexiness upset you?
Does it come as a surprise
That I dance like I've got diamonds
At the meeting of my thighs?

Out of the huts of history's shame
I rise
Up from a past that's rooted in pain
I rise
I'm a black ocean, leaping and wide,
Welling and swelling I bear in the tide.
Leaving behind nights of terror and fear
I rise
Into a daybreak that's wondrously clear
I rise
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.

Phenomenal Woman - Maya Angelou

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,
It's in the reach of my arms
The span of my hips,
The stride of my step,
The curl of my lips.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

I walk into a room
Just as cool as you please,
And to a man,
The fellows stand or
Fall down on their knees.
Then they swarm around me,
A hive of honey bees.
I say,
It's the fire in my eyes,
And the flash of my teeth,
The swing in my waist,
And the joy in my feet.
I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

Men themselves have wondered
What they see in me.
They try so much
But they can't touch
My inner mystery.
When I try to show them
They say they still can't see.
I say,
It's in the arch of my back,
The sun of my smile,
The ride of my breasts,
The grace of my style.
I'm a woman

Phenomenally.
Phenomenal woman,
That's me.

Now you understand
Just why my head's not bowed.
I don't shout or jump about
Or have to talk real loud.
When you see me passing
It ought to make you proud.
I say,
It's in the click of my heels,
The bend of my hair,
the palm of my hand,
The need of my care,
'Cause I'm a woman
Phenomenally.
Phenomenal woman,
That's me.

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jueves, 24 de marzo de 2022

Poems Of Elizabeth Bishop - Poemas en inglés

elizabeth bishop

Recursos Educativos en Inglés - Poems in English - Poesías en inglés

One Art - Elizabeth Bishop

The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.

—Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.

The Fish - Elizabeth Bishop

I caught a tremendous fish
and held him beside the boat
half out of water, with my hook
fast in a corner of his mouth.
He didn’t fight.
He hadn’t fought at all.
He hung a grunting weight,
battered and venerable
and homely. Here and there
his brown skin hung in strips
like ancient wallpaper,
and its pattern of darker brown
was like wallpaper:
shapes like full-blown roses
stained and lost through age.
He was speckled with barnacles,
fine rosettes of lime,
and infested
with tiny white sea-lice,
and underneath two or three
rags of green weed hung down.
While his gills were breathing in
the terrible oxygen
—the frightening gills,
fresh and crisp with blood,
that can cut so badly—
I thought of the coarse white flesh
packed in like feathers,
the big bones and the little bones,
the dramatic reds and blacks
of his shiny entrails,
and the pink swim-bladder
like a big peony.
I looked into his eyes
which were far larger than mine
but shallower, and yellowed,
the irises backed and packed
with tarnished tinfoil
seen through the lenses
of old scratched isinglass.
They shifted a little, but not
to return my stare.
—It was more like the tipping
of an object toward the light.
I admired his sullen face,
the mechanism of his jaw,
and then I saw
that from his lower lip
—if you could call it a lip—
grim, wet, and weaponlike,
hung five old pieces of fish-line,
or four and a wire leader
with the swivel still attached,
with all their five big hooks
grown firmly in his mouth.
A green line, frayed at the end
where he broke it, two heavier lines,
and a fine black thread
still crimped from the strain and snap
when it broke and he got away.
Like medals with their ribbons
frayed and wavering,
a five-haired beard of wisdom
trailing from his aching jaw.
I stared and stared
and victory filled up
the little rented boat,
from the pool of bilge
where oil had spread a rainbow
around the rusted engine
to the bailer rusted orange,
the sun-cracked thwarts,
the oarlocks on their strings,
the gunnels—until everything
was rainbow, rainbow, rainbow!
And I let the fish go.

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The Twelve Dancing Princesses - Brothers Grimm

twelve dancing princesses

Recursos Educativos en Inglés - Stories in English - Cuentos clásicos en Inglés

The Twelve Dancing Princesses - Brothers Grimm - Las doce princesas bailarinas en inglés

There was a king who had twelve beautiful daughters. They slept in twelve beds all in one room and when they went to bed, the doors were shut and locked up. However, every morning their shoes were found to be quite worn through as if they had been danced in all night. Nobody could find out how it happened, or where the princesses had been.

     So the king made it known to all the land that if any person could discover the secret and find out where it was that the princesses danced in the night, he would have the one he liked best to take as his wife, and would be king after his death. But whoever tried and did not succeed, after three days and nights, they would be put to death.

     A king's son soon came. He was well entertained, and in the evening was taken to the chamber next to the one where the princesses lay in their twelve beds. There he was to sit and watch where they went to dance; and, in order that nothing could happen without him hearing it, the door of his chamber was left open. But the king's son soon fell asleep; and when he awoke in the morning he found that the princesses had all been dancing, for the soles of their shoes were full of holes.

     The same thing happened the second and third night and so the king ordered his head to be cut off.

     After him came several others; but they all had the same luck, and all lost their lives in the same way.

     Now it happened that an old soldier, who had been wounded in battle and could fight no longer, passed through the country where this king reigned, and as he was travelling through a wood, he met an old woman, who asked him where he was going.

     'I hardly know where I am going, or what I had better do,' said the soldier; 'but I think I would like to find out where it is that the princesses dance, and then in time I might be a king.'

 'Well,' said the old woman, 'that is not a very hard task: only take care not to drink any of the wine which one of the princesses will bring to you in the evening; and as soon as she leaves you pretend to be fast asleep.'

     Then she gave him a cloak, and said, 'As soon as you put that on you will become invisible, and you will then be able to follow the princesses wherever they go.' When the soldier heard all this good advice, he was determined to try his luck, so he went to the king, and said he was willing to undertake the task.

     He was as well received as the others had been, and the king ordered fine royal robes to be given him; and when the evening came he was led to the outer chamber.

     Just as he was going to lie down, the eldest of the princesses brought him a cup of wine; but the soldier threw it all away secretly, taking care not to drink a drop. Then he laid himself down on his bed, and in a little while began to snore very loudly as if he was fast asleep.

     When the twelve princesses heard this they laughed heartily; and the eldest said, 'This fellow too might have done a wiser thing than lose his life in this way!' Then they rose and opened their drawers and boxes, and took out all their fine clothes, and dressed themselves at the mirror, and skipped about as if they were eager to begin dancing.

     But the youngest said, 'I don't know why it is, but while you are so happy I feel very uneasy; I am sure some mischance will befall us.'

     'You simpleton,' said the eldest, 'you are always afraid; have you forgotten how many kings' sons have already watched in vain? And as for this soldier, even if I had not given him his sleeping draught, he would have slept soundly enough.'

When they were all ready, they went and looked at the soldier; but he snored on, and did not stir hand or foot: so they thought they were quite safe.

     Then the eldest went up to her own bed and clapped her hands, and the bed sank into the floor and a trap-door flew open. The soldier saw them going down through the trap-door one after another, the eldest leading the way; and thinking he had no time to lose, he jumped up, put on the cloak which the old woman had given him, and followed them.

     However, in the middle of the stairs he trod on the gown of the youngest princess, and she cried out to her sisters, 'All is not right; someone took hold of my gown.'

     'You silly creature!' said the eldest, 'it is nothing but a nail in the wall.'

     Down they all went, and at the bottom they found themselves in a most delightful grove of trees; and the leaves were all of silver, and glittered and sparkled beautifully. The soldier wished to take away some token of the place; so he broke off a little branch, and there came a loud noise from the tree. Then the youngest daughter said again, 'I am sure all is not right -- did not you hear that noise? That never happened before.'

     But the eldest said, 'It is only our princes, who are shouting for joy at our approach.'

     They came to another grove of trees, where all the leaves were of gold; and afterwards to a third, where the leaves were all glittering diamonds. And the soldier broke a branch from each; and every time there was a loud noise, which made the youngest sister tremble with fear. But the eldest still said it was only the princes, who were crying for joy.

     They went on till they came to a great lake; and at the side of the lake there lay twelve little boats with twelve handsome princes in them, who seemed to be waiting there for the princesses.

One of the princesses went into each boat, and the soldier stepped into the same boat as the youngest. As they were rowing over the lake, the prince who was in the boat with the youngest princess and the soldier said, 'I do not know why it is, but though I am rowing with all my might we do not get on so fast as usual, and I am quite tired: the boat seems very heavy today.'

     'It is only the heat of the weather,' said the princess, 'I am very warm, too.'

     On the other side of the lake stood a fine, illuminated castle from which came the merry music of horns and trumpets. There they all landed, and went into the castle, and each prince danced with his princess; and the soldier, who was still invisible, danced with them too. When any of the princesses had a cup of wine set by her, he drank it all up, so that when she put the cup to her mouth it was empty. At this, too, the youngest sister was terribly frightened, but the eldest always silenced her.

     They danced on till three o'clock in the morning, and then all their shoes were worn out, so that they were obliged to leave. The princes rowed them back again over the lake (but this time the soldier placed himself in the boat with the eldest princess); and on the opposite shore they took leave of each other, the princesses promising to come again the next night.

     When they came to the stairs, the soldier ran on before the princesses, and laid himself down. And as the twelve, tired sisters slowly came up, they heard him snoring in his bed and they said, 'Now all is quite safe'. Then they undressed themselves, put away their fine clothes, pulled off their shoes, and went to bed.

     In the morning the soldier said nothing about what had happened, but determined to see more of this strange adventure, and went again on the second and third nights. Everything happened just as before: the princesses danced till their shoes were worn to pieces, and then returned home. On the third night the soldier carried away one of the golden cups as a token of where he had been.

As soon as the time came when he was to declare the secret, he was taken before the king with the three branches and the golden cup; and the twelve princesses stood listening behind the door to hear what he would say.

     The king asked him. 'Where do my twelve daughters dance at night?'

     The soldier answered, 'With twelve princes in a castle underground.' And then he told the king all that had happened, and showed him the three branches and the golden cup which he had brought with him.

     The king called for the princesses, and asked them whether what the soldier said was true and when they saw that they were discovered, and that it was of no use to deny what had happened, they confessed it all.

     So the king asked the soldier which of the princesses he would choose for his wife; and he answered, 'I am not very young, so I will have the eldest.' -- and they were married that very day, and the soldier was chosen to be the king's heir.

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Rapunzel - Brothers Grimm - Cuento en inglés

rapunzel cuento

Recursos Educativos en Inglés - Stories in English - Cuentos clásicos en Inglés

Rapunzel, Brothers Grimm

There were once a man and a woman who had long, in vain, wished for a child. At length it appeared that God was about to grant their desire.

     These people had a little window at the back of their house from which a splendid garden could be seen, which was full of the most beautiful flowers and herbs. It was, however, surrounded by a high wall, and no one dared to go into it because it belonged to an enchantress, who had great power and was dreaded by all the world.

     One day the woman was standing by this window and looking down into the garden, when she saw a bed which was planted with the most beautiful rampion, and it looked so fresh and green that she longed for it. She quite pined away, and began to look pale and miserable.

     Her husband was alarmed, and asked: 'What ails you, dear wife?'

     'Ah,' she replied, 'if I can't eat some of the rampion, which is in the garden behind our house, I shall die.'

     The man, who loved her, thought: 'Sooner than let your wife die, bring her some of the rampion yourself, let it cost what it will.'

     At twilight, he clambered down over the wall into the garden of the enchantress, hastily clutched a handful of rampion, and took it to his wife. She at once made herself a salad of it, and ate it greedily. It tasted so good to her - so very good, that the next day she longed for it three times as much as before.

     If he was to have any rest, her husband knew he must once more descend into the garden. Therefore, in the gloom of evening, he let himself down again; but when he had clambered down the wall he was terribly afraid, for he saw the enchantress standing before him.

     'How can you dare,' said she with angry look, 'descend into my garden and steal my rampion like a thief? You shall suffer for it!'

 'Ah,' answered he, 'let mercy take the place of justice, I only made up my mind to do it out of necessity. My wife saw your rampion from the window, and felt such a longing for it that she would have died if she had not got some to eat.'

     The enchantress allowed her anger to be softened, and said to him: 'If the case be as you say, I will allow you to take away with you as much rampion as you will, only I make one condition, you must give me the child which your wife will bring into the world; it shall be well treated, and I will care for it like a mother.'

     The man in his terror consented to everything.

     When the woman was brought to bed, the enchantress appeared at once, gave the child the name of Rapunzel, and took it away with her.

     Rapunzel grew into the most beautiful child under the sun. When she was twelve years old, the enchantress shut her into a tower in the middle of a forest. The tower had neither stairs nor door, but near the top was a little window. When the enchantress wanted to go in, she placed herself beneath it and cried:

'Rapunzel, Rapunzel, 
Let down your hair to me.'

     Rapunzel had magnificent long hair, fine as spun gold, and when she heard the voice of the enchantress, she unfastened her braided tresses, wound them round one of the hooks of the window above, and then the hair fell twenty ells down, and the enchantress climbed up by it.

     After a year or two, it came to pass that the king's son rode through the forest and passed by the tower. Then he heard a song, which was so charming that he stood still and listened. It was Rapunzel, who in her solitude passed her time in letting her sweet voice resound. The king's son wanted to climb up to her, and looked for the door of the tower, but none was to be found. He rode home, but the singing had so deeply touched his heart, that every day he went out into the forest and listened to it.

Once when he was thus standing behind a tree, he saw that an enchantress came there, and he heard how she cried:

'Rapunzel, Rapunzel, 
Let down your hair to me.'

     Then Rapunzel let down the braids of her hair, and the enchantress climbed up to her.

     'If that is the ladder by which one mounts, I too will try my fortune,' said he, and the next day when it began to grow dark, he went to the tower and cried:

'Rapunzel, Rapunzel, 
Let down your hair to me.'

     Immediately the hair fell down and the king's son climbed up.

     At first Rapunzel was terribly frightened when a man, such as her eyes had never yet beheld, came to her; but the king's son began to talk to her quite like a friend, and told her that his heart had been so stirred that it had let him have no rest, and he had been forced to see her. Then Rapunzel lost her fear, and when he asked her if she would take him for her husband, and she saw that he was young and handsome, she thought: 'He will love me more than old Dame Gothel does'; and she said yes, and laid her hand in his.

     She said: 'I will willingly go away with you, but I do not know how to get down. Bring with you a skein of silk every time that you come, and I will weave a ladder with it, and when that is ready I will descend, and you will take me on your horse.'

     They agreed that until that time he should come to her every evening, for the old woman came by day. The enchantress remarked nothing of this, until once Rapunzel said to her: 'Tell me, Dame Gothel, how it happens that you are so much heavier for me to draw up than the young king's son - he is with me in a moment.'

'Ah! you wicked child,' cried the enchantress. 'What do I hear you say! I thought I had separated you from all the world, and yet you have deceived me!'

     In her anger she clutched Rapunzel's beautiful tresses, wrapped them twice round her left hand, seized a pair of scissors with the right, and snip, snap, they were cut off, and the lovely braids lay on the ground. And she was so pitiless that she took poor Rapunzel into a desert where she had to live in great grief and misery.

     On the same day that she cast out Rapunzel, however, the enchantress fastened the braids of hair, which she had cut off, to the hook of the window, and when the king's son came and cried:

'Rapunzel, Rapunzel, 
Let down your hair to me.'

     she let the hair down. The king's son ascended, but instead of finding his dearest Rapunzel, he found the enchantress, who gazed at him with wicked and venomous looks.

     'Aha!' she cried mockingly, 'you would fetch your dearest, but the beautiful bird sits no longer singing in the nest; the cat has got it, and will scratch out your eyes as well. Rapunzel is lost to you; you will never see her again.'

     The king's son was beside himself with pain, and in his despair he leapt down from the tower. He escaped with his life, but the thorns into which he fell pierced his eyes.

     He wandered quite blind about the forest, ate nothing but roots and berries, and did naught but lament and weep over the loss of his dearest wife. Thus he roamed about in misery for some years, and at length came to the desert where Rapunzel, with the twins to which she had given birth, a boy and a girl, lived in wretchedness. He heard a voice, and it seemed so familiar to him that he went towards it, and when he approached, Rapunzel knew him and fell on his neck and wept. Two of her tears wetted his eyes and they grew clear again, and he could see with them as before. He led her to his kingdom where he was joyfully received, and they lived for a long time afterwards, happy and contented.

Thanks so much to Dennis for sending in this story.

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martes, 22 de marzo de 2022

The Three Little Pigs - Los Tres Cerditos

The Three Little Pigs - Los Tres Cerditos

Recursos Educativos en Inglés - Stories in English - Cuentos en Inglés

The Three Little Pigs - Los Tres Cerditos

Once upon a time . . . there were three little pigs, who left their mummy and daddy to see the world.

All summer long, they roamed through the woods and over the plains,playing games and having fun. None were happier than the three little pigs, and they easily made friends with everyone. Wherever they went, they were given a warm welcome, but as summer drew to a close, they realized that folk were drifting back to their usual jobs, and preparing for winter. Autumn came and it began to rain. The three little pigs started to feel they needed a real home. Sadly they knew that the fun was over now and they must set to work like the others, or they'd be left in the cold and rain, with no roof over their heads. They talked about what to do, but each decided for himself. The laziest little pig said he'd build a straw hut. 
"It wlll only take a day,' he said. The others disagreed. 

"It's too fragile," they said disapprovingly, but he refused to listen. Not quite so lazy, the second little pig went in search of planks of seasoned wood. 
"Clunk! Clunk! Clunk!" It took him two days to nail them together. But the third little pig did not like the wooden house. 
"That's not the way to build a house!" he said. "It takes time, patience and hard work to build a house that is strong enough to stand up to wind, rain, and snow, and most of all, protect us from the wolf!" 
The days went by, and the wisest little pig's house took shape, brick by brick. From time to time, his brothers visited him, saying with a chuckle: 
"Why are you working so hard? Why don't you come and play?" But the stubborn bricklayer pig just said "no". 
"I shall finish my house first. It must be solid and sturdy. And then I'll come and play!" he said. "I shall not be foolish like you! For he who laughs last, laughs longest!" 
It was the wisest little pig that found the tracks of a big wolf in the neighbourhood. 
The little pigs rushed home in alarm. Along came the wolf, scowling fiercely at the laziest pig's straw hut. 
"Come out!" ordered the wolf, his mouth watering. I want to speak to you!" 
"I'd rather stay where I am!" replied the little pig in a tiny voice. 
"I'll make you come out!" growled the wolf angrily, and puffing out his chest, he took a very deep breath. Then he blew with all his might, right onto the house. And all the straw the silly pig had heaped against some thin poles, fell down in the great blast. Excited by his own cleverness, the wolf did not notice that the little pig had slithered out from underneath the heap of straw, and was dashing towards his brother's wooden house. When he realized that the little pig was escaping, the wolf grew wild with rage. 
"Come back!" he roared, trying to catch the pig as he ran into the wooden house. The other little pig greeted his brother, shaking like a leaf. 
"I hope this house won't fall down! Let's lean against the door so he can't break in!" 
Outside, the wolf could hear the little pigs' words. Starving as he was, at the idea of a two-course meal, he rained blows on the door. 
"Open up! Open up! I only want to speak to you!" 
Inside, the two brothers wept in fear and did their best to hold the door fast against the blows. Then the furious wolf braced himself a new effort: he drew in a really enormous breath, and went ... WHOOOOO! The wooden house collapsed like a pack of cards. 
Luckily, the wisest little pig had been watching the scene from the window of his own brick house, and he rapidly opened the door to his fleeing brothers. And not a moment too soon, for the wolf was already hammering furiously on the door. This time, the wolf had grave doubts. This house had a much more solid air than the others. He blew once, he blew again and then for a third time. But all was in vain. For the house did not budge an lnch. The three little pigs watched him and their fear began to fade. Quite exhausted by his efforts, the wolf decided to try one of his tricks. He scrambled up a nearby ladder, on to the roof to have a look at the chimney. However, the wisest little pig had seen thls ploy, and he quickly said: 
"Quick! Light the fire!" With his long legs thrust down the chimney, the wolf was not sure if he should slide down the black hole. It wouldn't be easy to get in, but the sound of the little pigs' voices below only made him feel hungrier. 
"I'm dying of hunger! I'm goin to try and get down." And he let himself drop. But landing was rather hot, too hot! The wolf landed in the fire, stunned by his fall. 
The flames licked his hairy coat and his tail became a flaring torch. 
"Never again! Never again will I go down a chimneyl" he squealed, as he tried to put out the flames in his tail. Then he ran away as fast as he could. 
The three happy little pigs, dancing round and round the yard, began to sing: 
"Tra-la-la! Tra-la-la! The wicked black wolf will never come back...!" 
From that terrible day on, the wisest little pig's brothers set to work with a will. In less than no time, up went the two new brick houses. The wolf did return once to roam in the neighbourhood, but when he caught sight of three chimneys, he remembered the terrible pain of a burnt tail, and he left for good. 
Now safe and happy, the wisest little pig called to his brothers:

"No more work! Come on, let's go and play!"

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Poems Of Langston Hughes - Poemas en inglés

langston hughes

Poems Of Langston Hughes - Recursos Educativos en Inglés - Poems in English - Poesías en inglés

Theme For English B - Langston Hughes

The instructor said,

Go home and write
a page tonight.
And let that page come out of you—
Then, it will be true.

I wonder if it’s that simple?
I am twenty-two, colored, born in Winston-Salem.
I went to school there, then Durham, then here
to this college on the hill above Harlem.
I am the only colored student in my class.
The steps from the hill lead down into Harlem,
through a park, then I cross St. Nicholas,
Eighth Avenue, Seventh, and I come to the Y,
the Harlem Branch Y, where I take the elevator
up to my room, sit down, and write this page:

It’s not easy to know what is true for you or me
at twenty-two, my age. But I guess I’m what
I feel and see and hear, Harlem, I hear you.
hear you, hear me—we two—you, me, talk on this page.
(I hear New York, too.) Me—who?

Well, I like to eat, sleep, drink, and be in love.
I like to work, read, learn, and understand life.
I like a pipe for a Christmas present,
or records—Bessie, bop, or Bach.
I guess being colored doesn’t make me not like
the same things other folks like who are other races.
So will my page be colored that I write?
Being me, it will not be white.
But it will be
a part of you, instructor.
You are white—
yet a part of me, as I am a part of you.
That’s American.
Sometimes perhaps you don’t want to be a part of me.
Nor do I often want to be a part of you.
But we are, that’s true!
As I learn from you,
I guess you learn from me—
although you’re older—and white—
and somewhat more free.

This is my page for English B.

Dream Deferred - Langston Hughes

What happens to a dream deferred?

Does it dry up
Like a raisin in the sun?

Or fester like a sore--
And then run?

Does it stink like rotten meat?
Or crust and sugar over--
like a syrupy sweet?

Maybe it just sags
like a heavy load.

Or does it explode?

Mother To Son - Langston Hughes

Well, son, I'll tell you:
Life for me ain't been no crystal stair.
It's had tacks in it,
And splinters,
And boards torn up,
And places with no carpet on the floor-
Bare.
But all the time
I'se been a-climbin' on,
And reachin' landin's,
And turnin' corners,
And sometimes goin' in the dark
Where there ain't been no light.
So, boy, don't you turn back.
Don't you set down on the steps.
'Cause you finds it's kinder hard.
Don't you fall now-
For I'se still goin', honey,
I'se still climbin',
And life for me ain't been no crystal stair.

Dreams - Langston Hughes

Hold fast to dreams
For if dreams die
Life is a broken-winged bird
That cannot fly.

Hold fast to dreams
For when dreams go
Life is a barren field
Frozen with snow.

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