Do the hokey pokey

[Christopha]

THE HOKEY POKEY: in the red neck, cuntry music style

Put your left foot in,
Your left foot out,
Your left foot in,
And shake it all about.
You do the hokey pokey
And turn yourself around
That's what it's all about.

THE HOKEY POKEY: in the Shakespearean Style

O proud left foot, that ventures quick within
Then soon upon a backward journey lithe.
Anon, once more the gesture, then begin:
Command sinistral pedestal to writhe.
Commence thou then the fervid Hokey-Poke.
A mad gyration, hips in wanton swirl.
To spin! A wilde release from heaven's yoke.
Blessed dervish! Surely canst go, girl.
The Hoke, the Poke -- banish now thy doubt
Verily, I say, 'tis what it's all about.

[echnidna]

Which version do you do Christopha???

[Christopha]

Why dost thou enquire forsooth?

[echnidna]

As Iain said earlier I'm bored today, been watching paint dry.

[Cliff Rogers]

With all the sadness and trauma going on in the world at the moment,
it is worth reflecting on the death of a very important person
which almost went unnoticed.

Larry La Prise, the man who wrote, "The Hokey Pokey",
died peacefully aged 83.

The most traumatic part for his family was putting him in the coffin.
They put his left leg in - and things just went downhill from there.

[vsquizz]

Cliff thats pretty close to a Reddie

[beejay1]

cliff, he died years ago, dont tell me that havent got that other leg in yet.
Maybe foily can buid him a special coffin

beejay1

[Termite]

Christopha mate, you're usually pushed to come up with a decent sentence in Australian, how the hell did you manage the Iambic Pentameter.
( dont delete it, I wasn't swearing)

[Christopha]

Whassat????? :confused: :confused: :confused:

[Iain]

Non lineal structure, wow, smart asre mode on

[Termite]

Whassat????? :confused: :confused: :confused:

Its the style of verse in which old Willy Shakespear wrote.

[Christopha]

Whossat??? :confused: :confused: :confused:

[Termite]

Whossat??? :confused: :confused: :confused:

Iambic pentameter is a meter in poetry, consisting of lines with five feet (hence "pentameter") in which the iamb is the dominant foot (hence "Iambic"). Iambic rhythms are quite easy to write in English and iambic pentameter is among the most common metrical forms in English poetry. Like the rest of the meters it has its origins in Greek poetry.

William Shakespeare, like many of his contemporaries, wrote poetry and drama in iambic pentameter and is one of the masters of the craft. John Milton's unrhymed blank verse in Paradise Lost and his other epic poems use iambic pentameter as well.

Here is an example of iambic pentameter from Christopher Marlowe's "Dr Faustus":

Was this the face that launch'd a thousand ships
And burnt the topless towers of Ilium?
When read aloud, such verse naturally follows a beat. There is some debate over whether works such as Shakespeare's and Marlowe's were originally performed with the rhythm prominent, or whether it was disguised by the patterns of normal speech as is common today. In written form, the rhythm looks like this:

da-DUM da-DUM da-DUM da-DUM da-DUM
(weak STRONG / weak STRONG / weak STRONG / weak STRONG / weak STRONG)
Was-THIS the-FACE that-LAUNCH'D a-THOU sand-SHIPS
Although strictly speaking, iambic pentameter refers to five iambs in a row (as above), in practice, most poets vary their iambic pentameter a great deal, while maintaining the iamb as the most common foot. The second foot of a line of iambic pentameter is almost never altered. The first foot, on the other hand, is the most likely to be changed, often in order to highlight a particular word or mark a shift in a poem. A trochaic inversion, in which a trochee is substituted for an iamb in the first foot, is perhaps the most common alteration of the iambic pentameter pattern.

Here is the first quatrain of a sonnet by John Donne that demonstrates how poets use variations in their iambic pentameter:

Batter my heart three-personed God, for you
as yet but knock, breathe, shine and seek to mend.
That I may rise and stand o'erthrow me and bend
Your force to break, blow, burn and make me new.
The rhythm is:

DUM da | da DUM | da DUM | da DUM | da DUM
da DUM | da DUM | DUM DUM | da DUM | da DUM
da DUM | da DUM | da DUM | DUM DUM |dada DUM
da DUM | da DUM | DUM DUM | da DUM | da DUM
Donne uses a trochaic inversion in the first line to stress the key verb, "batter", and then sets up a clear iambic pattern with the rest of the line (da DUM da DUM da DUM da DUM). He uses spondees in the third foot to slow down the rhythm when he lists verbs in lines 2 and 4. The parallel rhythm and grammar of these lines highlights the comparison Donne sets up between what God does to him "as yet" (knock, breathe, shine and seek to mend"), and what he asks God to do ("break, blow, burn and make me new"). Donne also uses enjambement between lines 3 and 4 to speed up the flow as he builds to his desire to be made new. To further the quickening effect of the enjambement, Donne puts an anapest (dada DUM) in the final foot, carrying you to the next line.

Most poets who have a great facility for iambic pentameter frequently vary the rhythm of their poetry as Donne does here, both to create a more interesting overall rhythm and to highlight important thematic elements. In fact, the skilful variation of iambic pentameter, rather than the consistent use of it, may well be what distinguishes the rhythmic artistry of poets like Donne, Shakespeare, Milton, and the 20th century sonneteer Edna St. Vincent Millay.

Is it clear now

[DaveInOz]

So in my world we are talking about
There ONCE was A man FROM nanTUkET
.....

[Geoff Dean]

Duh, I thought everyone would have known that!!!!