a. The sources and structure of revenue in schools.
b.The line item categories for Instructional, Activity, and Non-activity funds for schools.
In your reaction you ought to consider: • The strategies that the writers use to pass on their impressions of the city. • The way(s) in which the artists incorporate references to social, political and individual concerns and the degree to which the ballads are molded by these. By 1800, London was the greatest city on the planet, with a populace of more than one million. It was a worldwide focal point of intensity and royal brilliance, set against a scenery of upset. Despite the fact that William Wordsworth's 'Formed Upon Westminster Bridge, September 3, 1802' and William Blake's 'London' (1794) both concern the city of London and were composed in a similar period, they display the city in altogether different ways. 'Westminster Bridge' is in festivity of the city's grandness and is once in a while severe, Wordsworth just ever composes disparagingly of its residents. In 'London' in any case, Blake who was himself an occupant of London, shows the city as a place creeping with defilement and overflowing with illness. In this paper I will investigate the structure, shape and setting of the ballads, the sonnets' primary topics, dialect and symbolism, how the lyrics depict individuals and society in London and the sights and hints of the city, with a specific end goal to think about inside and out the diverse manners by which the city is exhibited. The sonnet 'London' involves four quatrain stanzas, written in rhyming tetrameter. Every stanza offers a perspective of different parts of the city as observed by the storyteller on his "meander" (line 1). 'Westminster Bridge' is an Italian piece, which is a solitary fourteen-line stanza. It is composed in measured rhyming. Customarily, the work frame is related with affection ballads, and undoubtedly 'Westminster Bridge' could fall under this grouping. The lyric is figuratively partitioned into two sections, an eight-line octave and a six-line sestet. It is traditional for the octave to offer the portrayal or issue and the sestet the determination. In 'Westminster Bridge', Wordsworth utilizes the octave to detail the scene spread out before him, "Boats, towers, arches, theaters, and sanctuaries lie" (line 6), and the sestet to portray his feelings, "Ne'er observed I, never felt, a quiet so profound!" (line 11). 'London' was distributed in 'Tunes of Experience', one of Blake's treasurys. As the collection's title recommends, 'London' speaks to Blake's own understanding, thus the principal individual overwhelms, "I meander through each contracted road" (line 1). This strengthens the issues introduced in 'London' are of individual worry to Blake. So also, 'Westminster Bridge' is composed in the main individual, as it is an individual ordeal being made by Wordsworth at the simple minute that he views the depicted scene. Be that as it may, it doesn't overwhelm the lyric to an indistinguishable degree from it does 'London'. Wordsworth likewise makes utilization of the third individual, "The waterway glideth at his own particular sweet will" (line 12). He does this as he depicts his feelings with a specific end goal to clarify that the experience shows itself as open to all who might care to watch it, instead of utilizing the somewhat narrow minded option, "The stream glideth at my own sweet will". The rhyme plan of 'London' is ABAB CDCD EFEF GHGH, for instance "road, stream, meet, trouble" (stanza 1). This passes on a feeling of control, specialist and tedium, which is likewise resounded in the sonnet's dialect. The meter is once in a while intruded on, the ballad proceeds with one feedback and disclosure after another keeping in mind the end goal to stress the degree and number of the issues that exist, not having any desire to harp on any one point as though treating them with sicken. 'Westminster Bridge' adjusts freely to the ABBAABBACDCDCD rhyme plan of the Italian piece. The musicality is all the more frequently interfered, with assortment of accentuation and enjambement making changes in the stream. "Dear God! the simple houses appear to be snoozing;" (line 13), is a case of a caesura which upgrades this snapshot of epiphany in which Wordsworth understands that the quietness of the scene is with the end goal that the even the houses seem, by all accounts, to be resting. Then again, this outcry could actually be Wordsworth communicating his gratefulness to God for the scene. In inspecting a concentrate from Wordsworth's 'The Prelude', I trust it is sensible to accept that the shout 'Dear God!' is a profound response since he utilizes "gatekeeper holy people" (line 179) in a comparison portraying fronts of houses in London. For sure, Wordsworth was a religious man who said in 1812 that he was "eager to shed his blood for the Church of England". It could likewise be a resound of line 2, "Dull would he be of soul who could cruise by", a feedback of the individuals who are sleeping and not perceiving the genuine magnificence that the city can offer. Aside, it is likewise vital to consider the time setting of the lyrics as it impacts how the city is depicted. As 'London' is set at midnight, the picture of a dull, ignoble London is helped through, "midnight roads" (line 13), which gives a picture of the back streets where unbridled or wanton exercises may occur. 'London' isn't catching a specific minute in time yet even more an excursion through life, "In each cry of each man/In each newborn child's cry of dread" (lines 5-6). This is so since it exhibits enduring over the socioeconomics of London, as well as crosswise over time. The possibility of an adventure through time is additionally represented in the first etching of the ballad, which demonstrates a young man begging an injured old man. 'Westminster Bridge' by differentiate catches a solitary minute in time on September second 1802 and is set amid the early morning, at dawn, "The excellence of the morning" (line 5). This enables Wordsworth to see the city truly in its best light, "Never did the sun all the more flawlessly steep" (line 9), giving the best open door for the combination of nature and the city. Political and social issues, shape the lyrics vigorously, especially 'London'. Blake centers eagerly around political issues, particularly in the third stanza. "Each darkening church dismays," (line 10) alludes to the mechanical upheaval. This line features Blake's difficulty toward the upset. Blake experienced childhood in London thus this may be the explanation behind his dismissal of the adjustment in the public eye, however I discover the case he gives especially intriguing on the grounds that he was noted just like a nonconformist, dismissing the Church of England, yet he features how the customary religion of the nation is being harmed by industry. On the other hand it might allude to his nauseate at the rare purifying of the city, which has rather been left to die and worsen. The negligible relationship of the congregation with debasement is indiscernible. Blake likewise assaults the government in stanza three, "And the hapless trooper's murmur/Runs in blood down Palace dividers" (lines 11-12). The expression "hapless trooper" alludes to one of some disastrous officers who were sent off by the nation to take up arms, regularly without wanting to and with no care being given to them for their inconveniences. Regardless of giving an invaluble benefit in securing the nation, the government considered warriors to be unimportant pawns in the 'diversion' of war, irrelevant, vague and effectively supplanted. The other thing noted to "keep running in blood down castle dividers" is the "stack sweeper's cry", which is comparably disregarded by the government. Blake especially disdained the slave exchange thus he felt unequivocally about such issues not being address by the nation's pioneers. "Royal residence" could similarly allude to the places of parliament, with feedback falling solidly on the shoulders of government officials instead of the government. The feedback of the Church and government is a typical topic in Blake's lyrics, for instance in 'The Chimney Sweeper' (ii) from a similar collection in which 'London' was distributed, 'Melodies of Experience', Blake expresses "And are gone to applaud God and his Priest and King/Who make up a paradise of our wretchedness" (lines 11-12). "Furthermore, are gone", alludes to the guardians of a smokestack sweeper, who have surrendered him. The storyteller censures God and the King for having endeavored to celebrate his hopeless presence by bogus guarantees of an incredible life, which have not worked out. In the primary stanza, he depicts the roads and the stream Thames as "sanctioned" (lines 1 and 2). The word contracted, which is rehashed, likely alludes to the restrictive and official nature of the roads. Sanctioned actually signifies 'having unique benefits', thus Blake is presumably alluding to the colossal number of well off organizations in London, gathering cash and turning benefit, compared with the 'shortcoming', 'burden' and neediness of those in the city. Wordsworth likewise makes this differentiation when he portrays London in 'The Prelude', "The riches, the clamor and the excitement/The sparkling chariots with their spoiled steeds", (lines 161-162) and "The forager that asks with cap close by" (line 164). 'Outlined' may likewise allude to the way that the roads are notable and well trodden, mapped, diagrammed. 'Westminster Bridge' makes passing reference to the mechanical transformation, "All brilliant and sparkling in the smokeless air" (line 8). This line passes on a feeling of freshness and immaculateness with 'smokeless' proposing that the morning air is free of the modern contamination that is so evident amid the day. Wordsworth's perspective of the mechanical upset is altogether different to that of Blake since he recognizes in this line how nature and man can exist together in the city. In the last line, "And all that strong heart is lying still!" (line 14). Wordsworth alludes to the British Empire, which by 1802 was at its pinnacle. London, being the UK's capital, shaped the 'heart' of the Empire in a political sense. This embodiment strengthens the possibility that London shaped a crucial organ of the Empire's 'body', thus it is especially outstanding that Wordsworth depicts London as lying still since it rea>GET ANSWER