Adverbs An adverb modifies--changes, enhances, limits, describes, intensifies, muffles--a verb, an adjective or another adverb.

ANSWERS THE QUESTION HOW? [In the following examples, the adverb is bold and the word it modifies is underlined.] It isn't just the practice, studying, running, bad days, great days and traveling that experienced players handle well. WELL tells us how the players HANDLE things. They have quickly figured out how to deal with their boss. QUICKLY tells us how they HAVE FIGURED OUT. It's nice to have a group that handles the situations better than others have. BETTER describes how the group HANDLES the direct objects SITUATIONS. Either they sit quietly and watch, not taking a side, or find themselves actually rooting for one of these two. QUIETLY describes how they SIT. INDICATES TO WHAT DEGREE? This has been a really nice group to work with," Penn State coach Rene Portland said of her team. To what degree is the group nice? REALLY. NOTE: NICE is an adjective. This is an example of an adverb modifying an adjective. How do so-called neutral fans react to this game between two programs they certainly respect but probably can't stand? What kind of neutral are the fans? SO-CALLED. NOTE: NEUTRAL is an adjective. The coach did not sound overly concerned about it. What is the degree of concern not expressed? OVERLY NOTE: CONCERNED is a PREDICATE adjective. She is not sure our crowd will bother them that much. To what degree will the crowd bother them? MUCH. ANSWERS THE QUESTION WHEN? We are in a busy time now," the mayor said. When is the busy time? NOW NOTE: ARE is not a linking verb here. It is intransitive.

"Confident" would not have described the student yesterday. When was the STUDENT not CONFIDENT? YESTERDAY Recently, we've allowed her to sneak outside and play the wing. WHEN has she been allowed? RECENTLY. ANSWERS THE QUESTION WHERE? The little girl plays inside quietly. Where does she play well? INSIDE. NOTE: QUIETLY is also an adverb telling us how she plays. Recently, we've allowed her to sneak outside and play. OUTSIDE tells us where she has been allowed to sneak. The goat has climbed out. OUT indicates where THE GOAT has climbed. An adverb can also introduce sentences or modify entire phrases or sentences. Thursday, NBC will show the premieres of its best shows. THURSDAY tells the reader when about the whole sentence. Adverbs may refer to: TIME (He arrived promptly.) MANNER (Cougars walk silently.) DEGREE (She was quite miserable.) PLACE (The book belongs there.)

E THE MAN'S ACTIONS: He's working quickly. He's He's working carefully. working slowly.

He's He's He's

working hard. working fast. working hurriedly. "Quickly, carefully, slowly, hard, fast, hurriedly" are all adverbs.

Frank worked more yesterday . (WHEN) Steve works here . (WHERE) Adverbs give information about the time, place and manner of the action.

They work well together. ADJECTIVE new happy ADJECTIVE hard early ADVERB newly happily ADVERB hard early

(HOW) ADJECTIVE quick careful ADJECTIVE fast good ADVERB quickly carefully ADVERB fast well Some adverbs are irregular. Most adverbs have -ly at the end.

Quickly, he finished his work. He quickly finished his work. He finished his work quickly. Adverbs have many possible positions within a sentence.

Frank works more quickly than Steve. Steve works more carefully than Frank. Which worker works more efficiently? Adverbs can be used to compare actions.

Paul is a very good worker. Sandy is frequently busy. Our teacher is always patient with us. Adverbs can be used to modify adjectives.

Paul went to the store, then he went to the post office.

Adverbs can be used to

I should have studied; instead, I went to a movie.

join two clauses together.

I have no money; I'd go with you otherwise. These adverbs are called I think, therefore I am. conjunctive adverbs. Some of the most common conjunctive adverbs are: also, consequently, finally, furthermore, hence, however, incidentally, indeed, instead, likewise, meanwhile, nevertheless, next, nonetheless, otherwise, still, then, therefore, thus

.
Find the adjective in the first sentence and fill the gap with the adverb. 1. Joanne is happy. She smiles 2. The boy is loud. He shouts
happily

. . . . . . . .

3. Her English is fluent. She speaks English 4. Our mum was angry. She spoke to us 5. My neighbour is a careless driver. He drives 6. The painter is awful. He paints

7. Jim is a wonderful piano player. He plays the piano 8. This girl is very quiet. She often sneaks out of the house 9. She is a good dancer. She dances really 10. This exercise is simple. You .

have to put one word in each space.

We will meet here after the party. John is careless. He talks carelessly.

She rarely eats a big lunch. Mike walked quickly towards the door. I had to run really fast to catch the bus. An adverb can be placed anywhere in a sentence. I like to watch television often. I will be there soon. I will see you then. They are almost out of the building. Sometimes, I like to go to movies. He played excellently. He is clearly an excellent player. Cats can smell extremely well. Mike walked quickly towards the door.

AYA NO TSUZUMI (THE DAMASK DRUM) ATTRIBUTED TO SEAMI, BUT PERHAPS EARLIER. PERSONS A COURTIER. AN OLD GARDENER. THE PRINCESS. COURTIER. I am a courtier at the Palace of Kinomaru in the country of Chikuzen. You must know that in this place there is a famous pond called the Laurel Pond, where the royal ones often take their walks; so it happened that one day the old man who sweeps the garden here caught sight of the Princess. And from that time he has loved her with a love that gives his heart no rest. Some one told her of this, and she said, "Love's equal realm knows no divisions," 1 and in her pity she said, "By that pond there stands a laurel-tree, and on its branches there hangs a drum. Let him beat the drum, and if the sound is heard in the Palace, he shall see my face again." I must tell him of this. Listen, old Gardener! The worshipful lady has heard of your love and sends you this message: "Go and beat the drum that hangs on the tree by the pond, and if the sound is heard in the Palace, you shall see my face again." Go quickly now and beat the drum! GARDENER. With trembling I receive her words. I will go and beat the drum. COURTIER. Look, here is the drum she spoke of. Make haste and beat it! (He leaves the GARDENER standing by the tree and seats himself at the foot of the "Waki's pillar.") GARDENER. They talk of the moon-tree, the laurel that grows in the Garden of the Moon. . . . But for me there is but one true tree, this laurel by the lake. Oh, may the drum that hangs on its branches give forth a mighty note, a music to bind up my bursting heart. Listen! the evening bell to help me chimes; But then tolls in A heavy tale of day linked on to day, CHORUS (speaking for the GARDENER).

And hope stretched out from dusk to dusk. But now, a watchman of the hours, I beat The longed-for stroke. GARDENER. I was old, I shunned the daylight, I was gaunt as an aged crane; And upon all that misery Suddenly a sorrow was heaped, The new sorrow of love. The days had left their marks, Coming and coming, like waves that beat on a sandy shore . . . CHORUS. Oh, with a thunder of white waves The echo of the drum shall roll. GARDENER. The after-world draws near me, Yet even now I wake not From this autumn of love that closes In sadness the sequence of my years. CHORUS. And slow as the autumn dew Tears gather in my eyes, to fall Scattered like dewdrops from a shaken flower On my coarse-woven dress. See here the marks, imprint of tangled love, That all the world will read. GARDENER. I said "I will forget," CHORUS. And got worse torment so Than by remembrance. But all in this world Is as the horse of the aged man of the land of Sai; 1 And as a white colt flashes Past a gap in the hedge, even so our days pass. 2 And though the time be come, Yet can none know the road that he at last must tread, Goal of his dewdrop-life. All this I knew; yet knowing, Was blind with folly. GARDENER. "Wake, wake," he cries-CHORUS. The watchman of the hours-"Wake from the sleep of dawn!" And batters on the drum.

For if its sound be heard, soon shall he see Her face, the damask of her dress Aye, damask! He does not know That on a damask drum he beats, Beats with all the strength of his hands, his aged hands, But bears no sound. "Am I grown deaf?" he cries, and listens, listens: Rain on the windows, lapping of waves on the pool Both these he hears, and silent only The drum, strange damask drum. Oh, will it never sound? I thought to beat the sorrow from my heart, Wake music in a damask drum; an echo of love From the voiceless fabric of pride! GARDENER. Longed for as the moon that hides In the obstinate clouds of a rainy night Is the sound of the watchman's drum, To roll the darkness from my heart. CHORUS. I beat the drum. The days pass and the hours. It was yesterday, and it is to-day. GARDENER. But she for whom I wait CHORUS. Comes not even in dream. At dawn and dusk GARDENER. No drum sounds. CHORUS. She has not come. Is it not sung that those Whom love has joined Not even the God of Thunder can divide? Of lovers, I alone Am guideless, comfortless. Then weary of himself and calling her to witness of his woe, "Why should I endure," he cried, "Such life as this?" and in the waters of the pond He cast himself and died. (GARDENER leaves the stage.) Enter the PRINCESS. COURTIER. I would speak with you, madam.

The drum made no sound, and the aged Gardener in despair has flung himself into the pond by the laurel tree, and died. The soul of .such a one may cling to you and do you injury. Go out and look upon him PRINCESS (speaking wildly, already possessed by the GARDENER'S angry ghost, which speaks through her). 1 Listen, people, listen! In the noise of the beating waves I hear the rolling of a drum. Oh, joyful sound, oh joyful! The music of a drum, COURTIER. Strange, strange! This lady speaks as one By phantasy possessed. What is amiss, what ails her? PRINCESS. Truly, by phantasy I am possessed. Can a damask drum give sound? When I bade him beat what could not ring, Then tottered first my wits. COURTIER. She spoke, and on the face of the evening pool A wave stirred. PRINCESS. And out of the wave COURTIER. A voice spoke. (The voice of the GARDENER is heard; as he gradually advances along the hashigakari it is seen that he wears a "demon mask," leans on a staff and carries the "demon mallet" at his girdle.) GARDENER'S GHOST. I was driftwood in the pool, but the waves of bitterness CHORUS. Have washed me back to the shore. GHOST. Anger clings to my heart, Clings even now when neither wrath nor weeping Are aught but folly. CHORUS. One thought consumes me, The anger of lust denied Covers me like darkness. I am become a demon dwelling

In the hell of my dark thoughts, Storm-cloud of my desires. GHOST. "Though the waters parch in the fields Though the brooks run dry, Never shall the place be shown Of the spring that feeds my heart." 1 So I had resolved. Oh, why so cruelly Set they me to win Voice from a voiceless drum, Spending my heart in vain? And I spent my heart on the glimpse of a moon that slipped Through the boughs of an autumn tree. 2 CHORUS. This damask drum that hangs on the laurel-tree GHOST. Will it sound, will it sound? (He seizes the PRINCESS and drags her towards the drum.) Try! Strike it! CHORUS. "Strike!" he cries; "The quick beat, the battle-charge! Loud, loud! Strike, strike," he rails, And brandishing his demon-stick Gives her no rest. "Oh woe!" the lady weeps, "No sound, no sound. Oh misery!" she wails. And he, at the mallet stroke, "Repent, repent!" Such torments in the world of night Abrasetsu, chief of demons, wields, p.
140

heart's core; Then leapt into the lake and died. And while his body rocked Like driftwood on the waves, His soul, an angry ghost, Possessed the lady's wits, haunted her heart with woe, The mallet lashed, as these waves lash the shore, Lash on the ice of the eastern shore. The wind passes; the rain falls On the Red Lotus, the Lesser and the Greater. 1 The hair stands up on my head. "The fish that leaps the falls To a fell snake is turned," 2 _________________ In the Kwanze School this play is replaced by another called The Burden of Love, also attributed to Seami, who writes (Works, p. 166): "The Burden of Love was formerly The Damask Drum." The task set in the later play is the carrying of a burden a thousand times round the garden. The Gardener seizes the burden joyfully and begins to run with it, but it grows heavier and heavier, till he sinks crushed to death beneath it. I have learned to know them; Such, such are the demons of the World of Night. "O hateful lady, hateful!" he cried, and sank again Into the whirlpool of desire.

Who on the Wheel of Fire Sears sinful flesh and shatters bones to dust. Not less her torture now! "Oh, agony!" she cries, "What have I done, By what dire seed this harvest sown?" GHOST. Clear stands the cause before you. CHORUS. Clear stands the cause before my eyes; I know it now. By the pool's white waters, upon the laurel's bough The drum was hung. He did not know his hour, but struck and struck Till all the will had ebbed from his

Summary of the Mahabharata The Mahabharata tells the story of two sets of paternal first cousins--the five sons of the deceased king Pandu (the five Pandavas and the one hundred sons of blind King Dhritarashtra--who became bitter rivals, and opposed each other in war for possession of the ancestral Bharata kingdom with its capital in the "City of the Elephants," Hastinapura , on the Ganga river in north central India. What is dramatically interesting within this simple opposition is the large number of individual agendas the many characters pursue, and the numerous personal conflicts, ethical puzzles, subplots, and plot twists that give the story a strikingly powerful development. The five sons of Pandu were actually fathered by five Gods (sex was mortally dangerous for Pandu, because of a curse) and these heroes were assisted throughout the story by various Gods, sages, and brahmins, including the great sage Krishna Dvaipayana Vyasa (who later became the author of the epic telling this story), who was also their actual grandfather (he had engendered Pandu and the blind Dhrtarastra upon their nominal father's widows in order to preserve the lineage). The one hundred sons of the blind king Dhartarashtra, on the other hand, had a grotesque, demonic birth, and are said more than once in the text to be human incarnations of the demons who are the perpetual enemies of the devotees of the lord. The most dramatic figure of the entire Mahabharata, however, is Sri Krishna who is the supreme personality of Godhead himself, descended to earth in human form to reestablish his devotees as care takers of the earth, and who practice Dharma. Krishna Vasudeva was the cousin of both parties, but he was a friend and advisor to the Pandavas, became the brother-inlaw of Arjuna , and served as Arjuna's mentor and charioteer in the great war. Krishna Vasudeva is portrayed several times as eager to see the war occur, and

in many ways the Pandavas were his human instruments for fulfilling that end. The Dhartarashtra party behaved viciously and brutally toward the Pandavas in many ways, from the time of their early childhood. Their malice displayed itselfwhen they took advantage of the eldest Pandava, Yudhishthira (who had by now become the ruler of the world) in a game of dice: The Dhartarashtras 'won' all his brothers, himself, and even the Pandavas' common wife Draupadi They humiliated all the Pandavas and physically abused Draupadi; they drove the Pandava party into the wilderness for twelve years, and the twelve years of exile had to be followed by the Pandavas' living somewhere in society, in disguise, without being discovered. The Pandavas fulfilled their part of that bargain by living out side the kingdom, but the evil leader and eldest son of Dhartarashtra, Duryodhana , was unwilling to restore the Pandavas to their half of the kingdom when the thirteen years had expired. Both sides then called upon their many allies and two large armies arrayed themselves on 'Kuru's Field' (Kuru was one of the eponymous ancestors of the clan), eleven divisions in the army of Duryodhana against seven divisions for Yudhishthira. Much of the action in the Mahabharata is accompanied by discussion and debate among various interested parties, and the most famous dialog of all time, Krishna Vasudeva's ethical lecture and demonstration of his divinity to his devotee and friend Arjuna (the Holy Bhagavad Gita appeared in the Mahabharata just prior to the commencement of the world war. Several of the important ethical and theological themes of the Mahabharata are tied together in this Gita, and this "Song of the Blessed One" has exerted much the same sort of powerful and farreaching influence in the Vedic Civilization that the New Testament has had in the Christian world. The

Pandavas won the eighteen day battle, but it was a victory that deeply troubled all except those who were able to understand things on the divine level (chiefly Krishna, Vyasa, and Bhishma the Bharata patriarch who was symbal of the virtues of the era now passing away). The Pandavas' five sons by Draupadi, as well as Bhimasena and Arjuna Pandava's two sons by two other mothers (respectively, the young warriors and Abhimanyu, were all tragic victims in the war. Worse perhaps, the Pandava victory was won by the Pandavas slaying, in succession, four men who were like fathers to them: Bhishma, their teacher Drona , Karna (who was, though none of the Pandavas knew it, the first born, pre-marital, son of their mother), and their maternal uncle Shalya (all four of these men were, in succession, 'supreme commanders' of Duryodhana's army during the war). Equally troubling was the fact that the killing of the first three of these 'respected elders,' and of some other enemy warriors as well, was accomplished only through ' trickery', most of which were suggested by Krishna Vasudeva as absolutely required by the circumstances. The ethical gaps were not resolved to anyone's satisfaction on the surface of the narrative and the aftermath of the war was dominated by a sense of horror and malaise. Yudhishthira alone was terribly troubled, but his sense of the war's wrongfulness persisted to the end of the text, in spite of the fact that everyone else, from his wife to Krishna Vasudeva, told him the war was right and good; in spite of the fact that the dying patriarch Bhishma lectured him at length on all aspects of the Good Law (the Duties and Responsibilities of Kings, which have rightful violence at their center; the ambiguities of Righteousness in abnormal circumstances; and the absolute perspective of a beatitude that ultimately transcends the oppositions of good versus bad, right versus wrong, pleasant versus unpleasant, etc.); in

spite of the fact that he performed a grand Horse Sacrifice as expiation for the putative wrong of the war. These debates and instructions and the account of this Horse Sacrifice are told at some length after the massive and narrative of the battle; they form a deliberate tale of pacification that aims to neutralize the inevitable reactions of the war. In the years that follow the war Dhritarashtra and his queen Gandhari , and Kunti , the mother of the Pandavas, lived a life of asceticism in a forest retreat and died with yogic calm in a forest fire. Krishna Vasudeva departed from this earth thirty-six years after the war. When they learned of this, the Pandavas believed it time for them to leave this world too and they embarked upon the 'Great Journey,' which involved walking north toward the polar mountain, that is toward the heavenly worlds, until one's body dropped dead. One by one Draupadi and the younger Pandavas died along the way until Yudhishthira was left alone with a dog that had followed him all the way. Yudhishthira made it to the gate of heaven and there refused the order to drive the dog back, at which point the dog was revealed to be an incarnate form of the God Dharma (the God who was Yudhishthira's actual, physical father), who was there to test Yudhishthira's virtue. Once in heaven Yudhishthira faced one final test of his virtue: He saw only the Dhartarashtra Clan in heaven, and he was told that his brothers were in hell. He insisted on joining his brothers in hell, if that were the case! It was then revealed that they were really in heaven, that this illusion had been one final test for him. End.