I am from the peaceful
banks of a creek with no name; from JFG, toast and blackberry jam and home-made
I am from "a house with double porches," a room filled with good ghosts and creek laughter in the mornings before first light.
I am from Liriodendron and Lindera, butterfly bush and mountain boomers
I am from Dillons and Harrisons, Betty Jean and Granny Bea-- frugal and long-lived, stubborn and tender, quick to laugh. Or cry.
I am from a world whose geography my children know better than I, from a quiet valley where I am the proprietor and world authority of its small wonders.
From barn loft secret passwords and children who can fly if they only try.
I am from oven-baked Saran Wrap and colds caught from jackets worn indoors.
I am from pire in the blood Baptists, from the cathedral made without hands, the church in the wildwoods, the covenant of grace.
I'm from the Heart of Dixie, son of Scarlett O'hara. From War Eagle, Wiffle, UAB and PT, from Walnut Knob's blue ridge and the soft shadows of Goose Creek.
From a "fast hideous" dresser and a home body from Woodlawn, from a grandfather I never knew that I can blame for my love of nature and my stubbornness, they tell me.
I am from fragments, the faint smell of wood smoke, and familiar walks among trees I know by name, from HeresHome and good stock. A man can hardly ask to be from more.
Briefly state your position, state why the problem you are working on is important, and indicate the important questions that need to be answered; this is your "Introduction." Push quickly through this draft--don't worry about spelling, don't search for exactly the right word, don't hassle yourself with grammar, don't worry overmuch about sequence--that's why this is called a "rough draft." Deal with these during your revisions. The point of a rough draft is to get your ideas on paper. Once they are there, you can deal with the superficial (though very important) problems.
The chief device of ancient Hebrew Biblical poetry , including many of the psalms , was parallelism , a rhetorical structure in which successive lines reflected each other in grammatical structure, sound structure, notional content, or all three. Parallelism lent itself to antiphonal or call-and-response performance, which could also be reinforced by intonation . Thus, Biblical poetry relies much less on metrical feet to create rhythm, but instead creates rhythm based on much larger sound units of lines, phrases and sentences.  Some classical poetry forms, such as Venpa of the Tamil language , had rigid grammars (to the point that they could be expressed as a context-free grammar ) which ensured a rhythm.  In Chinese poetry , tones as well as stresses create rhythm. Classical Chinese poetics identifies four tones : the level tone, rising tone, departing tone, and entering tone .