A persuasive speech is a type of public speaking that aims to convince the audience to adopt a particular belief or course of action. In order to be effective, a persuasive speech must be well-organized, well-researched, and well-delivered. Here is a template that you can use to structure your own persuasive speech:
Introduction:
Start by capturing the attention of your audience. This can be done through a powerful opening statement, a rhetorical question, a personal anecdote, or a striking statistic.
Clearly state the purpose of your speech. This should be the main point that you want your audience to take away from your presentation.
Preview the main points of your speech. This will give your audience a sense of what to expect and help them follow your argument more easily.
Body:
Begin with your strongest argument. This should be the argument that is most likely to persuade your audience.
Follow this with your second strongest argument, and then your third strongest argument, and so on.
Use evidence to support your arguments. This can be in the form of research, statistics, examples, or personal experiences.
Address counterarguments. It is important to anticipate and address any objections that your audience might have to your argument. This will show that you have thought critically about your position and that you are willing to engage with differing viewpoints.
Conclusion:
Summarize the main points of your speech. This will help reinforce the main points of your argument in the minds of your audience.
Restate your purpose. This will help your audience remember the main point of your speech and will give them a sense of closure.
End with a call to action. This can be a request for your audience to take a specific action, such as signing a petition or volunteering their time. Alternatively, you can simply encourage your audience to think more deeply about the issue at hand.
Remember that a persuasive speech is all about convincing your audience to adopt your point of view. In order to do this, you need to make a strong, well-supported argument and deliver it with conviction and passion. By following this template and putting in the necessary preparation and practice, you can deliver an effective persuasive speech that will persuade your audience to see things your way.
Shakespeare Sonnet 29
. As speaker she must let the reader hear her, while her bent for self-analysis and formal commitment to lyric self-expression preclude duplicity. Leighton, Angela, and Margaret Reynolds, Victorian Women Poets: An Anthology, Blackwell Publishers, 1995. Obviously there are rich possibilities for irony here, but Barrett Browning does not take them—does not appear even to notice them. I have only words to play with! And his appearance, in significant contrast to her own, is always imaginatively transformed when it is described at all. It reaches back to the Medieval Romances, where a woman is loved and idealised by a worshipping admirer.
For her fifteenth birthday, her father had one of her poems The Battle of Marathon privately printed. There's been lots of good writing on the Sonnets; I'm sure H. Other significant works include Casa Guidi Windows 1856 , a political poem in which she expressed her support for the Florentine nationalist movement, and Aurora Leigh 1859 , an experimental verse narrative. Like the heroes of Switzerland or Amours de Voyages, the woman in the Sonnets finds her lover more passionate and alive than she is herself. While this produces a rich poetic complexity, it also produces embarrassment, which as Erving Goff-man says can arise from the clashing of apparently incompatible roles.
The speaker has the qualities, then, both of the male Victorian poet as introverted self-doubting lover and of the female figures in which Tennyson embodies passive, withdrawn, and isolated aspects of the poetic character. Dickens wants to give Esther Summerson narrative authority as well as attractiveness and self-effacing modesty, and the incongruity that results suggests to some readers either intentional irony or authorial failure. For me the most stimulating recent discussion is in the marvelous though overlooked short book The Craft of Poetry, by Derek Attridge and Henry Staten. Her poems offered a vital energy, a new and compelling music, a bold engagement with controversial social issues, and a combination of tough wit with passionate intensity that was more like Donne than anything yet published in the nineteenth century. When, in disgrace with fortune and men's eyes, I all alone beweep my outcast state And trouble deaf heaven with my bootless cries And look upon myself and curse my fate, Wishing me like to one more rich in hope, Featur'd like him, like him with friends possess'd, Desiring this man's art and that man's scope, With what I most enjoy contented least; Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven's gate; For thy sweet love remember'd such wealth brings That then I scorn to change my state with kings. Who best Bear His mild yoke, they serve Him best.
Sonnet 29: When, in disgrace with fortune and men’s eyes Poem Summary and Analysis
When in disgrace with fortune and men's eyes I all alone beweep my outcast state, And trouble deaf heaven with my bootless cries, And look upon myself, and curse my fate, Wishing me like to one more rich in hope, Featured like him, like him with friends possessed, Desiring this man's art, and that man's scope, With what I most enjoy contented least; Yet in these thoughts my self almost despising, Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven's gate; For thy sweet love remembered such wealth brings That then I scorn to change my state with kings. She generalizes her situation most clearly and deliberately through literary allusions, particularly in the first two sonnets, which draw on Theocritus, Homer, Milton, and Shakespeare. But the real problem is that the female speaker produces painful dislocations in the conventions of amatory poetry and thus in the response of the sophisticated twentieth-century reader, whose first overwhelming though inaccurate impression of the poems is that they are awkward, mawkish, and indecently personal—in short, embarrassing. A Billiard-marker, whose skill was immense, Might perhaps have won more than his share— But a Banker, engaged at enormous expense, Had the whole of their cash in his care. In my experience the really life-changing account consists of the various analyses in William Empson's 7 Types of Ambiguity; Empson opens the book with a virtuous and constitutively incomplete explication of the ambiguity of 'Bare ruined choirs, where late the sweet birds sang'; among the long list of reasons for the comparison is "because the cold and Narcissistic charm suggested by choir-boys suits well with Shakespeare's feeling for the object of the Sonnets"! Nor does she call our attention to the persistent anomalies and contradictions even without irony.
The ultimate source of both her attraction and her power in these poems, however, is simply her own desire. I don't agree that there's no transition. . The second is the date of publication online or last modification online. This collection arranges the work of fifty poets in chronological order, beginning with Felicia Hemans and ending with Charlotte Mew. I have said it twice: That alone should encourage the crew.
Her aspirations to poetic fame dwindle under his amused, admiring gaze into girlish narcissism. She somewhat resembles the speaker in The House of Life, too, with her dark allusions to untellable sins and sorrows. Victorian Verse While the Victorian age is best known for its explosion in the number of novelists and the refining of that form, the era also saw its share of poets who eventually became giants in the history of English literature. She died on June 29, 1861, and was buried in Florence. Two qualities of this phase of our natural being seem to have especially impressed Shakespeare -- its pathos and its mystery. Her poem can work if she is humble, but not if she is cold.
Sometimes she is herself transformed by her own imagination, but into an object unworthy of desire. While her plan was for a novel-poem and in due course issued in Aurora Leigh, Sonnets from the Portuguese appears to be an earlier fruit of her growing desire to cast off fictional trappings and write from her own time, place, and social class. This is a problem of the female speaker, not just of the woman writer, as we see in Bleak House. No, I don't expect you to memorize the curriculum of everyone, but you might after all this time have a general idea of where people who comment almost everyday are coming from. Barrett Browning acquiresed, and this collection stands as her greatest and most well-known achievement.
But even with the current interest in female writers most of her poetry is neglected, while from Sonnets from the Portuguese—her most lastingly popular work and, next to Aurora Leigh, her most considerable poetic achievement—critics avert their eyes in embarrassment. The juxtaposition of traditional amatory poetry and the Victorian idea that love should be fulfilled in marriage, combined with the desire of almost every important Victorian poet to write within the context of contemporary social life, inevitably opened up the disjunction between the passionate certainties of literature, and the flawed complexities of life, between the amatory intensity of poetic lovers and the confusion and distractedness of modern ones. English interest in the sonnet eventually led to the creation of different sonnet types, the Spenserian and the Shakespearean, both of which still feature fourteen lines but alter the Petrarchan rhyme scheme. The last date is today's date — the date you are citing the material. So I don't think there's a sharp division between two parts. And as any person who has thought about an absent lover knows, thoughts of the beloved only lead to more intense thoughts of the same.
