Instruct: Given a question, retrieve relevant passages that answer the question.
Query: What is the origin of the word "prose"?
The word "prose" first appears in English in the 14th century. It is derived from the Old French prose, which in turn originates in the Latin expression prosa oratio (literally, straightforward or direct speech).[2]
Intellectual, scholars and critics divide Pashto literature into two parts, i.e. poetry and prose. Poetic literature like Amir Crore Nazam and Sheikh Mati Munajat were all in poetic form. Prose found its place in Pashto literature very late. The reason is that poetry is a far common and effective genre for translating and expressing one's feeling into it and conveying the same to others. However prose vis-à-vis poetry appeals to a very selective mind and heart. Now the question arises as to when prose writing came into vogue in Pashto literature. There are various profound claims and arguments regarding the origin of prose in Pashto literature like it having been originated as back as 223 Hijri in the form of translation of Arabic verses in book titled ‘SaloVagma’ (Deserted Breeze). Since the book is not vogue and the idea is based on mere assumption, it cannot be taken as authentic. Similarly, another book Tazkiratul Aulia, written by Suleman Makoo in 612 Hijri, is said to be the first recognized book in Pashto. The book contains descriptions of major Aulia, like Shiekh Malkair, Shiekh Ismial and Sheikh Bakhtiar. The complete book is not in existence but a part of it is available. However, the oldest complete prose book in Pashto that is still in existence today is Khairul Bayan. After that we come across Akhund Darvez’s book title Makhzanul Islam and various other books written in the 9th and 10th centuries by Babu Jan, Mlamast Zamand, Allah Yar, and Akhun Qasim. But all these books were in prose-verse as they contained difficult words and rhetorical expressions and poetic rhythms as well. After that comes the era of the great Pashto poet Khushal Khan Khattak, who along with his family has made a remarkable contribution to Pashto prose writing. His sons, one of his daughters, Haleema Khatak and his grandchildren (Khushaal Khan Khatak's) contributed to Pashto prose in an especially unique way. It was this period when prose was written in clear, short and easy to follow and comprehensible form. Then comes the period of some of the greatest prose writers Saleh Mohammad, Ghulam Mohyuddin Afghan, Zamarley, Maulvi Mir Ahmed Shah, and Abdul Rauf Qaney further contributed to the cause of Pashto prose in Afghanistan. To conclude, Pashto expressions far more exceeds prose collections in Pashto literature as prose needs special attention on the part of intellectuals and critics and as this very form of expression is less developed in prose vis-à-vis poetry.
Hymes promoted what he and others call "ethnopoetics", an anthropological method of transcribing and analyzing folklore and oral narrative that pays attention to poetic structures within speech. In reading the transcriptions of Indian myths, for example, which were generally recorded as prose by the anthropologists who came before, Hymes noticed that there are commonly poetic structures in the wording and structuring of the tale. Patterns of words and word use follow patterned, artistic forms.
Krueger has said his favorite book is "To Kill a Mockingbird". He grew up reading Ernest Hemingway, John Steinbeck, F. Scott Fitzgerald, and James T. Farrell. Most influential among these was Hemingway. In an interview for "Shots" magazine, Krueger described his admiration for Hemingway's prose:
His prose is clean, his word choice perfect, his cadence precise and powerful. He wastes nothing. In Hemingway, what's not said is often the whole point of a story. I like that idea, leaving the heart off the page so that the words, the prose itself, is the first thing to pierce you. Then the meaning comes.
The text is usually in prose, although some of the first plays alternate between parts in prose and in verse. Moreover, the language used is deliberately vulgar, with fashionable expressions and badly-pronounced foreign words and references. Jokes and other semantic aspects were not originally part of the "sainete", but were subsequently incorporated by "quinteros". The music was then justified by the text: people dancing in the street and suchlike. There is also theatre within theatre, as well as orchestra in the text. All these features aim fundamentally to create contact with the audience.
The origin of the word "herpetoculture" is credited to Tom Huff, who devised the word to distinguish what he, as a self-described "herpetoculturist", was doing—working to keeping reptiles and amphibians alive and healthy—from what herpetologists of that era were generally doing, namely, collecting specimens for preservation in museum collections. The word itself comes from the Greek language origin “herpien,” which means “to creep”.
The collection consists overwhelmingly of prose poems, which number forty of the forty-two poems. The two exceptions are "Marine" and "Mouvement", which are vers libre. These two poems are remarkable not only as exceptions within "Illuminations" itself, but as two of the first free verse poems written in the French language. Within the genres of prose poetry and "vers libre", the poems of "Illuminations" bear many stylistic distinctions. Though influenced by the earlier prose poems of Charles Baudelaire, the prose poems differ starkly from Baudelaire's in that they lack prosaic elements such as linear storytelling and transitions. Because of these differences, Rimbaud's prose poems are denser and more poetic than Baudelaire's. These differences also contribute to the surrealist quality of "Illuminations". Though Rimbaud predated surrealism, he is said to have written in a surrealistic style due to the hallucinatory, dreamlike aspect of many of the poems. Another aspect of Rimbaud's style, which also contributes to the visionary quality of the poems, is his use of words for their evocative quality rather than their literal meaning. In addition to these stylistic qualities, "Illuminations" is rich with sensory imagery. A puzzling aspect of Rimbaud's style is his use of foreign words within the French text of "Illuminations". For example, the poem "Being Beauteous" has an English title, even in the original French. Rimbaud biographer Graham Robb suggests that the presence of words from languages like English and German are due in part to Rimbaud's travels. Apparently, as he learned languages, Rimbaud kept lists of words he wished to use in poems.
Cardonne-Arlyck continued:
There are some word choices I question, but one of the achievements of Mr. Howard's translation is that he has faced up to what are stylistic peculiarities in the French text and rendered them into an equally intricate but lush and rythmic prose. "The Opposing Shore" is Mr. Gracq's best-known and richest work. It has already been translated into six languages, and its long overdue appearance in English reminds us of one of the more stimulating and original imaginations in contemporary French literature.
The style of prose in the "New Book" also differed, due to Ouyang Xiu and Song Qi being both admirers of the simplified, 'ancient' prose style of Tang scholars such as Han Yu, rather than the flowery prose style found in official Tang documents. This led them to change the original wordings in the documents that they quoted in the book. However, in the reduction, the direct use of Tang court records was lost, some reduced passages were unclear, and many errors were introduced in attempting to find more 'ancient' words to rephrase the Tang originals.
"The simplest definition is that a prose poem is a poem written in prose...But, not unlike 'free verse,' the oxymoronic name captures the complex nature of a beast bred to challenge conventional assumptions about what poetry is and what it can do." "The prose poem is a composition printed out as prose that names itself as poetry, availing itself of the elements of prose, while foregrounding the devices of poetry."
I should say I wanted to write poetry in the beginning because I had fallen in love with words. The first poems I knew were nursery rhymes and before I could read them for myself I had come to love the words of them. The words alone. What the words stood for was of a very secondary importance ... I fell in love, that is the only expression I can think of, at once, and am still at the mercy of words, though sometimes now, knowing a little of their behaviour very well, I think I can influence them slightly and have even learned to beat them now and then, which they appear to enjoy. I tumbled for words at once. And, when I began to read the nursery rhymes for myself, and, later, to read other verses and ballads, I knew that I had discovered the most important things, to me, that could be ever.
Thomas was an accomplished writer of prose poetry, with collections such as "Portrait of the Artist as a Young Dog" (1940) and "Quite Early One Morning" (1954) showing he was capable of writing moving short stories. His first published prose work was "After the Fair", printed in The New English Weekly on 15 March 1934. Jacob Korg believes that Thomas's fiction work can be classified into two main bodies, vigorous fantasies in a poetic style and, after 1939, more straightforward narratives. Korg surmises that Thomas approached his prose writing as an alternate poetic form, which allowed him to produce complex, involuted narratives that do not allow the reader to rest.
Journalistic prose is explicit and precise and tries not to rely on jargon. As a rule, journalists will not use a long word when a short one will do. They use subject-verb-object construction and vivid, active prose (see Grammar). They offer anecdotes, examples and metaphors, and they rarely depend on generalizations or abstract ideas. News writers try to avoid using the same word more than once in a paragraph (sometimes called an "echo" or "word mirror").
The first example is taken from the opening lines of the folk-epic Beowulf, a poem of some 3,000 lines and the single greatest work of Old English.[3] This passage describes how Hrothgar's legendary ancestor Scyld was found as a baby, washed ashore, and adopted by a noble family. The translation is literal and represents the original poetic word order. As such, it is not typical of Old English prose. The modern cognates of original words have been used whenever practical to give a close approximation of the feel of the original poem.
Lanham chose to view communication as the rival to the over encompassing use of CBS model (which pursued to further the transmission model). CBS model argues that clarity, brevity, and sincerity are the only purpose to prose discourse, therefore communication. Lanham wrote: "If words matter too, if the whole range of human motive is seen as animating prose discourse, then rhetoric analysis leads us to the essential questions about prose style" (Lanham 10). This is saying that rhetoric and style are fundamentally important; they are not errors to what we actually intend to transmit. The process which we construct and deconstruct meaning deserves analysis.
Because of Sanskrit's complex declension system, the word order is free. In usage, there is a strong tendency toward subject – object – verb (SOV), which was the original system in place in Vedic prose. However, there are exceptions when word pairs cannot be transposed.
In 1967 he published his best-known work, "Le Savon", translated as Soap (1969), a long prose poem that, in the words of "The Times" "is unique precisely because, and often very humorously, it exhausts the topic of the word and the thing." An extract from the original, and an English translation published in 1969, illustrate this:
There was also a period when the spelling of a small number of words was altered in what is now regarded as a misguided attempt to make them conform to what were perceived to be the etymological origins of the words. For example, the letter "b" was added to "debt" (originally "dette") in an attempt to link it to the Latin "debitum", and the letter "s" in "island" is a misplaced attempt to link it to Latin "insula" instead of the Old English word "īġland", which is the true origin of the English word. The letter "p" in "ptarmigan" has no etymological justification whatsoever, only seeking to invoke Greek despite being a Gaelic word.
The idea for the film had its origin in the mid 1980s, when Tarr heard Krasznahorkai retell the story of Nietzsche's breakdown, and ended it by asking what happened to the horse. Tarr and Krasznahorkai then wrote a short synopsis for such a story in 1990, but put it away in favour of making "Sátántangó". Krasznahorkai eventually wrote "The Turin Horse" in prose text after the production of the duo's previous film, the troublesome "The Man from London". "The Turin Horse" never had a conventional screenplay, and Krasznahorkai's prose was what the filmmakers used to find financial partners.
Short prose is a generic term for various kinds of very short fictional prose; short prose may or may not be narrative. Short prose pieces are considerably shorter than a short story, i.e., usually less than c. 1,000 words. Because of their small size, short prose pieces can attain high levels of lexical density and may thereby resemble prose poems, but the focus in short prose is less on language itself (and thus on rhythm, metre, or other phonological effects) than on the rapid presentation of a situation.
A piece of short prose may contain drama, but it normally differs from a vignette in that it has no necessary associations with theatre or character. Because plot is peripheral to, or nonexistent in, short prose, a short prose piece differs from a sketch story in that it does not necessarily invite the reader to imagine what came before or what follows after. Finally, because a piece of short prose does not necessarily have characters, conflict, or resolution, it usually differs from the short short story, flash fiction and microfiction as these are usually defined.
The idea behind Do Not Look at the Sun is 'found poetry, free prose'. It features poetry, prose, and what it refers to as 'misfit lit'. Poets & Writers described the content as 'notes, thoughts, one-line poems, streams of thought and lucid dreams, and other words that have no place elsewhere.'
Lieder line by line (subtitled Lieder line by line and word for word) is a book by Lois Phillips, a professor of song at the Royal Academy of Music. The book gives the full texts of most of the important lieder by Beethoven, Schubert, Schumann, Wagner, Brahms, Wolf, Mahler and Strauss. Under each line of the original German is a literal word-by-word translation, while alongside is a prose transliteration of the verse. Phillips thus combines two of the common strategies used in song translation.
Muzhik () - a Russian peasant. Used as a topical calque in translations of Russian prose. 
Prose lacks the more formal metrical structure of verse that can be found in traditional poetry. Prose comprises full grammatical sentences, which then constitute paragraphs while overlooking aesthetic appeal, whereas poetry often involves a metrical and/or rhyming scheme. Some works of prose contain traces of metrical structure or versification and a conscious blend of the two literature formats known as prose poetry. Verse is considered to be more systematic or formulaic, whereas prose is the most reflective of ordinary (often conversational) speech. On this point, Samuel Taylor Coleridge jokingly requested that novice poets should know the "definitions of prose and poetry; that is, prose—words in their best order; poetry—the best words in their best order."[5]
Prose encourages the reader to slow down and read every word. She reminds the reader that words are the "raw material out of which literature is crafted." Challenging the reader to stop at every word, she suggests the following question be asked: "What is the writer trying to convey with this word?"