Go to the official websites for the Democratic Party, Republican Party, and the third party of your choice (example: Green or Libertarian parties).
Compare the party platforms of each party on 2 different issues (examples: climate change, student debt loans/higher education costs, Net Neutrality).
Which website was most informative and useful?
Republican Party links:
https://www.gop.com/ (Links to an external site.)Links to an external site.
https://www.gop.com/platform/ (Links to an external site.)Links to an external site.
Democratic Party links:
https://democrats.org/ (Links to an external site.)Links to an external site.Link (Links to an external site.)Links to an external site.
https://democrats.org/about/party-platform/ (Links to an external site.)Links to an external site.Link (Links to an external site.)Links to an external site.
Besides musicality, the other main feature of the poem is ‘word-play’ with Lear incorporating occasional invented words: ‘bong-tree’, ‘Piggy-wig’ and the nonsense adjective ‘runcible’. As well as having a humorous effect, they introduce elements of spontaneous fantasy that punctuate the surreal journey of the anthropomorphised animals. Although these words appear made-up they still remain, just, within our normal expectations of English. However, the fact that they do deviate from the poem’s surrounding simple language means they are foregrounded, thus, the reader/listener pays particularly attention to them because they are satisfying to say without necessarily having to make sense. Even though ‘runcible’ has no actual meaning (although it has since been popularly defined as a three-pronged fork curved like a spoon) it has a phonological playfulness with the rolling of the ‘r’ in ‘run’ followed by the two syllables in ‘cible’. The hyphenation of ‘Piggy-wig’ actually incorporates the phonemes and meanings of two words, ‘pig’ and ‘wig’, managng to succeed as an internal rhyme. While the inclusion of these words doesn’t really add anything to the meaning of the phrase, they do at least sustain, and quite possibly strengthen the rhythm. It is not until the final stanza that the rhythm is disrupted slightly by the ‘running over’ of line twenty-three into twenty-four without a pause. The effect of this enjambment is that we are hurried on to a pivotal stage in the story, the point at which a transaction occurs. The caesura at the word ‘ring’ creates not just a pause, but also a brief tension as we await the pig’s answer. Note, too, that the direct speech in these lines references traditional marriage vows reinforced by the stress on the words ‘willing’ and ‘will’. Furthermore, this transaction also brings the ‘real’ world nearer to the surface. Without a ring the marriage cannot take place. Only when the ‘deal’ has been done can the tale, and thus the poem, continue as before. Once the regular rhythm resumes it drives the narrative onward, ending with feline and fowl dancing ‘hand in hand, on the edge of the sand…by the light of the moon’. Imagery created by the moonlight (traditionally invoked as being romantic) means the enchantment of the scene dances on with the fantasy sweethearts and is where the reader/listener has to leave them. In spite of the whimsical narrative and word-play the poem is solidly anchored by the strong iambic ‘gait’ woven through the traditional ballad form of tetrameter and trimeter. The rising rhythms move the poem along whilst being controlled by the full and stable rhymes, making it very satisfying. Lear’s talent first saw the light of day in A Book of Nonsense (1846) containing a collection of his lime>GET ANSWER