Terjemahan Lirik Lagu Cinta Lampung Barat

Sangat luas alam subur dan makmur

Dikelilingi bukit barisan

Hasil buminya sangat banyak

Tempat yang menjanjikan

Lampung Barat yang indah

Bekerja bersama itu motonya

Bersih berbudaya banyak kenangan

Rela berkorban ramah tamah rakyatnya

Kami cinta semua cinta Lampung Barat

Di sana aku lahir dan dibesarkan

Kota wisata banyak kenangan

Tak dapat kulupakan selamanya

Tua muda mari kita bersama

Gulung lengan bajumu

Desaku maju gotong royong

Tercapai masa depan rakyat sejahtera

Kami cinta semua cinta Lampung Barat

Di sana aku lahir dan dibesarkan

Kota wisata banyak kenangan

Tak dapat kulupakan selamanya

Tua muda mari kita bersama

Gulung lengan bajumu

Desaku maju gotong royong

Tercapai masa depan rakyat sejahtera

Lirik Lagu Kumbang Hati-Lagu Lampung

Kumbang Hati

Kumohon padamu sayang

Kita jangan saling menjauh

Kumohon padamu pemilik hati

Sampai ajal menjemput

Sunyinya malam, ingat dirimu

Menambah rasa takjubku

Mereka pun memaksa ku susah

Membayang jauh

Menyuruhku menangis

Kutanya angin, bulan dan langit

Apakah ada namaku dalam hatimu

Kubawa rasa, rasa sayangku

Jangan sampai hilang dalam angan

Jangan sampai hilang sayang 

Hilang di dalam angan

Kumohon padamu

Memohon pada ingin

Kita harus bersama sampai ajal menjemput

Hancur diriku jika kamu pergi dariku

Aku berjanji dalam sumpah

Hanya kamu permata di hati

Aku berhenti bernafas

Untuk niat yang suci

Kucari cara menjaga pemilik hati

Aku mencari dalih agar kita bisa bersama

Kucari cara menjaga pemilik hati

Aku mencari dalih agar kita bisa bersama

Berharap pada harapan bersama doa

Semoga bertemu jodoh

Tak mungkin mundur 

Kalau menurutku kamu adalah impianku

Tak mungkin mundur 

Kalau menurutku kamu adalah impianku

NATIONAL SEMINAR ON 21 APPBIPA “Kuliner Nusantara”

NATIONAL SEMINAR ON 21 APPBIPA

“Kuliner Nusantara”

Hallo everybody. So, today I wanna share my experience when I follow webinar. Here we go!

21 APPBIPA has provided many benefits for foreign teaching and speakers. One of the things is to introduce Indonesian language and culture. Indonesian drinks and foods are an important aspect so as to give the impression for foreign speakers. Therefore this seminar is held so we can know Indonesian language and culture especially culinary nusantara.

This seminar aims to make all of the participants of this this seminar can understand how important give the information about foods from Indonesia. This seminar also give the knowledge about APPBIPA and  as the way for young generation to know the information about APPBIPA. 

The event was opened publicly and was attende by more and less approximately 40 participants consisting of leader from APPBIPA Jakarta Raya and APPBIPA South Sulawesi, lecturer from many un, BIPA’ teacher, and varsity students from University in Indonesia.

The theme of this seminar is “Kuliner Indonesia” with the sub theme;

1. Minuman tradisional yang menyehatkan 

2. Mengenal dan belajar memasak Coto Makasar

The material provided by two speakers in this seminar.

1. First topic delivered by Ilham Saiful mubin with the theme of “Minuman Tradisional yang Menyehatkan”

 A brief explanation about beverage

 Learn how important traditional beverage

 How important traditional drink as healthy drink 

2. Second topic delivered by Sitti Rabiah with the theme of “Mengenal dan Belajar Memasak Coto Makassar”

 A brief history of Coto Makassar

 How to cook Coto Makassar

We can explore more about Indonesian culture and we can take action to teach foreign people about language include culinary of Indonesia. Traditional beverage is one of interesting knowledge that can learn by foreign people. Coto Makassar also one famous and delicious food that can give foreign people knowledge about Indonesia. 

In this case, there are some initial strategies that can motivate someone to know about language and culture, which are being confident to teach and learn, sociable, and never stop to learn.

Thank you for reading and see you on my next sharing!

Writer: Vina Qurrota' Akyuningrum

Published on : January, 23th 2021

Webinar Keanekaragaman Budaya Indonesia

Webinar Keanekaragaman Budaya Indonesia

Hallo everyone, do you ever learn about culture from Indonesia? Last time I learn about it by following webinar. I can know more about how beautiful cultures of Indonesia in the world. And today, I wanna share my experience. 

Diversity is a condition in a society where there are many differences in many areas. Indonesia is an island nation of diversity and diversity. Such differences include national, racial, religious, and interracial. The difference in society is that Indonesia can be put together in a single frame of development. The phrase of Bhinneka Tunggal Ika is on the symbol of Indonesia, the garuda pancasila. The motto of Bhinneka Tunggal Ika has different meanings, but one remains. Thus, despite the differences, the people of Indonesia remain united in essence. The slogan describes the unity of Indonesians with diversity of people, cultures, local languages, religions and beliefs.

This seminar aims to make all of the participants of this seminar can understand how important to share the cultural sciences of the region, and it is hoped that students of the program will eventually have a comprehensive experience of cultural diversity in Indonesia.

The event was opened publicly and was attend by more and less approximately 40 participants consisting of students from Universitas Teknokrat Indonesia and others University.

The theme of this seminar is “Keanekaragaman Budaya Indonesia” 

The material provided by two speakers in this seminar.

1. First topic delivered by Mr. Suprayogi with the theme of “Traditional Dance of Lampung”

 An explanation about traditional dance 

 The history of traditional dance in Lampung

 The culture and traditional clothes 

 The function of traditional dance

 Showing the video of traditional dance in Lampung

2. Second topic delivered by Permata sakti with the theme “Blitar Kawentar” 

 A brief history of Blitar Kawentar

 The explanation about Blitar Kawentar

3. Talking about culture and food of Lamongan

So, that's all from about webinar. Thank you for reading. 

Writer : Vina Qurrota' A.

Published on : January, 23th 2021

Summary of Phonetics in Phonology and Phonology in Phonetics

Phonetics in Phonology and Phonology in Phonetics

Vina Qurrota’ Akyuningrum

The reason why I chose the title is because I’m interested when I see the title. I enter the key word when I search for it. Phonetics paper is my key word. And when I school it, I see the title and I’m interested. When I read the first paragraph, I’m interested because I do not know and I want to know more about it. The title Phonetics in Phonology and Phonology in Phonetics is an interesting title and makes me want to know more about phonology.

There are two different ways that interact. The difference needs to be drawn between the way phonetics affects phonology-phonetics in phonology, and the way phonology influences or propels phonetics - phonology in phonetics. which The first concerns how the phonetic effect and boundary are reflected in phonology, which is often referred to as natural.

The latter isa mapping between the phonology unit and the physical realization. In this case, phonology appears in phonetics in contrast Phonies manifest physically. These two facets of the relationship between phonology and phonetics are discussed within understanding the implications for understanding phonology and phonetics and their relationships.

It is widely assumed that phonology and phonetics are distinct and phonology is the domain of the entity Discrete and categorical, whereas phonetics are continuous domains and gradients.

Patterns affixed to factors The thus said nature. A close alignment between the phonetic effect and the phonological pattern has been because a lot of people think phonetics is natural is the primary source of the phonological pattern, that is, its phonies are convicted in phonetics.

The view of the inherent centrality of grammatically is the source of a controversial substance like the one hale and reiss framed (2000), where they argue separation full substance of form. They argue that phonology = grammar = formal and phonetic = substance = function. This approach is closely related to an assumption of strict modularity.

The similarities between cooperation and assimilation.

In cohn (1998), in which I argued that phonology and phonetics differ, I discussed a number of cases where the psychological and phonetic effects are similar, but not the same. It's the fundamental character of what I call a double phonetic and phonological, Cases where there are parallel categories and gradient effects in the same language, with independent evidence showing that the first is caused by phonology and the last is the result of the application which Before. For example, this is seen in nasalization patterns in some languages (cohn 1990), palatalization in some languages English (zsiga 1995), and devoicing vowels in Japanese (tsuchida 1997, 1998).

The differences between coarticulation and assimilation are also clearly demonstrated in work comparing vowel harmony with effects of vowel-to-vowel coarticulation, as shown in work on Turkish (Beddor and Yavuz 1995) and Yoruba (Przezdziecki 2005). Consider an example from Yoruba comparing three dialects where the phonological patterns of vowel harmony differ. In the Àkùre dialect, there is anticipatory [ATR] vowel harmony affecting both mid and high vowels; thus in a V 1 CV 2.

Since assimilation and coarticulation are distinct, an adequate model needs to account for both of them. The view taken here is that while assimilation might arise historically through the process of visualization, there is ample evidence that the patterns of assimilation and coarticulation are not reducible to the same thing, thus we need to understand how the more categorical patterns and the more gradient patterns relate.

Phonology emerges in phonetics, in the sense that phonological contrast is physically realized. This then is the second facet of the relationship between phonology and phonetics: the relationship between these cognitive elements and their physical realization. The relationship between phonology and phonetics has been understood as a mapping between abstract phonological units (usually understood as features) and the physical signal.

Growing out of Pierrehumbert’s (1980) study of English intonation, gradient phonetic patterns are understood as resulting from phonetic implementation. Under the particular view developed there, termed generative phonetics, these gradient patterns are the result of interpolation through phonologically unspecified domains. 

Keating (1988) and John (1990) extend this approach to the segmental domain, arguing that phenomena such as long distance fertilization and nasalization can be understood in these terms as well. Within generative phonetics, the account of gravity follows from a particular set of assumptions about specification and underspecification.

It is generally assumed that category in phonology also follows directly from the nature of perception and the important role of categorical perception. The specific ways in which perception constrains or defines phonology are not well.

Categorical phonetics and gradient phonology.

There are many ways to model steady-state patterns within the phonetics without calling into question any of the basic assumptions of the dichotomous model of phonology and phonetics. Just to mention one approach, within a target-interpolation model, phonetic targets can be assigned based on phonological specification as well as due to phonetic constraints or requirements. Such cases then do not really inform the debate about the gray area between phonology and phonetics.

Are phonetics and phonology distinct?

While the existence of categorical phonetics might not be pivotal in resolving our understanding of the relationship between phonology and phonetics, the status of gradient phonology is quite crucial for our understanding of this relationship.

Implications of a continuum of granularity.

The sound structure continuum is schematized in Figure 5a with phonetics vs. phonology on the x-axis and degree of granularity on the y-axis. Consider the schematic distribution of the data: A modular approach suggests a bimodal distribution such as that in Figure 5b, with little or no gray area. A unidimensional approach suggests a distribution such as that in Figure 5c, with little correlation between the two dimensions. Yet the evidence suggests that the distribution of data fall somewhere between these two views.

First of all, it is important to realize that just because it is difficult to know exactly where to draw the line, this does not necessarily mean there are not two separate domains of sound structure. The fact that is difficult to draw a line follows in part from the conception of phonologization. Phonologization by its very nature is bound to result in indeterminate cases. As phonetic details are being enhanced, it will be difficult at certain stages to say that a particular pattern is phonetic, while another is phonological. For example, vowel lengthening before voiced sounds in English might be viewed as being in this gray area. Thus the existence of some gray area does not in and of itself resolve the question. Yet, at the same time, it is important that our understanding of the nature of this continuum is not predetermined by our theoretical assumptions.

Modularity, duplication, and redundancy.

Evidence suggests that lexical representations include multiple levels of detail, including the kind of sparse abstract representations widely assumed in generative phonology and much more fine-grained levels of detail. (See Beckman et al. 2004 for discussion and a specific proposal in this regard.) Not only is there redundancy within domains, but there appears to be redundancy across domains, so duplication is not a problem, but in fact an intrinsic characteristic of language. Recent work in psycholinguistics shows that speakers have access in at least some situations to very fine details including both speaker-specific and situation-specific information. (See Beckman2003 and Pierrehumbert 2003 for reviews and discussion of this body of work.) However, just because we are sensitive to finer details does not mean that we cannot abstract across the lexicon. Pierrehumbert (2003, p. 191) argues that some phonotactic knowledge is, indeed, true abstraction across the lexicon. “In light of such results, I will assume, following mainstream thought in linguistics, that an abstract phonological level is to be distinguished from the lexicon proper.” This suggests that we have access to both fine-grained and coarse-grained levels of knowledge and that they co-exist (Beckman 2003; Beckman et al. 2004).

Implications for learning

There has been interesting work on the nature of categorization and how categories are learned. This includes a large body of work on infant speech perception showing the shift from relatively language-independent perception to largely languagespecific perception roughly between the age of 6-12 months. (See for example Best 1994, Kuhl et al. 1992, and Stager and Werker 1997). This work offers insight into the nature of human perceptual categories and the development of language-specific categories. While newborns are endowed with perceptual abilities and the ability to discriminate, this does not necessarily mean that specific linguistic categories are endowed. Certain aspects of speech perception may be emergent, in the sense that they can be learned from the ambient language. On the other hand, this does not answer the question of whether or not speech is special. (See Benson et al. 2001 for recent work on the subject.)

The relationship between phonetics and phonology is a multifaceted one. It includes phonetic constraints that have shaped synchronic phonological systems through historical change over time. Synchronically, phonological systems emerge as a balance between the various demands placed on the system, but the evidence suggests that phonology cannot be reduced to the sum of these influences. We also need to understand phonetics and phonology in relationship to the lexicon. The evidence suggests that there are parallels and overlaps between these three areas, but none of these areas is properly reduced to or contained in the others.

To reach a fuller understanding of the workings of phonology, phonetics, the lexicon, and their interactions, we need be willing to reconsider widely held assumptions and ask in an empirically-based way what is the connection between these domains of the linguistic system. What is called for are non-reductionist integrated approaches. Once we accept the profound complexity of what we are trying to describe and explain, we will discover that many of the contributions of generative linguistics and psychololinguistics often framed as being in opposition are in fact compatible and together offer an explanation of the nature of sounds systems, in terms of their mental representations, production, perception, acquisition, and use.

Analysis Plot and POV of the Story In The Wood by Guy De Maulassant

THE ANALYSIS OF STORY

IN THE WOOD

BY

GUY MAUPASSANTS

Summary

In the morning with a newly rising sun, the mayor is savoring his morning breakfast with the smell of the forest and the coolness of the air. He enjoyed his breakfast and was so happy that day. But, suddenly, a policeman on duty at his residence came and reported something unbelievable. The case is about foreign people in their region. The mayor went straight to the two whose police had reported. A 60-years-old man and a 55-years-old woman. 

When the mayor asked their identity. The mayor was shocked because oth of them are wife and husband. They answered all questions from the mayor. And his bodyguard explained what happened to the two strangers in the woods. The case will make their region become a bad area if all the society hear about the story. They caught out when kissing out at 10:00 this morning, in the deep of the wood area.

The mayor looked at the culprits in astonishment, for the man was certainly sixty, and the woman fifty-five at least, and he began to question them, beginning with the man, who replied in such a weak voice that he could scarcely be heard.

After the police explain, the mayor asked, "Who is this woman for you?" and the husband answer that she is his wife.

"She's my wife mayor" the mayor smiled, then asked again, "Do you live separately?" "No, we lived together in Paris. We were on vacation here and arrived at 9:00 this morning." The mayor now asked the man's wife, "Why are you here?" She replied, "In the early days, we arrived here. I tried to ask him to go here to remind us of our young moments when we didn't know each other. I missed those days, so I brought him here and I hope he doesn't think I'm a fool for doing this in my old age." 

"I didn't know that he'd brought me here to do that." Husband answer honestly

"I knew you'd think I was stupid, so I deliberately didn't tell you" replied the woman without any fear. 

The mayor please the woman to tell the story and the woman told the story. Along time ag when they were young both of them are camping together with other friends. They never met before then recognize each other in the wood. 

"The next day we met Monsieur Beaurain at the railway station, and in those days he was good-looking, but I had made up my mind not to encourage him, and I did not. Well, we arrived at Bezons. It was a lovely day, the sort of day that touches your heart. When it is fine even now, just as it used to be formerly, I grow quite foolish, and when I am in the country I utterly lose my head. The green grass, the swallows flying so swiftly, the smell of the grass, the scarlet poppies, the daisies, all that makes me crazy. It is like champagne when one is not accustomed to it!

For several day, they enjoy their camping and felt very happy. They are falling in love in the wood. They always together in the woods. After camping had ended, they went back to their home. They love having a good way because they meet again and decide to marry. 

And now, when they are old, they felt that their love decreases. The wife never wants it if they are busy with their job only and forget their story love. So, the woman has an idea to have a holiday with her husband in the wood. The mayor smiled and shook his head. "Now you go back to Paris and if you come back here again please be more discreet.”

Plot 

After reading the story we can know that the plot from the story is a progressive plot. It tells a detailed story from In The Wood. The story begins when the mayor still enjoys his breakfast and a police officer comes to him and tells the case of two people from Paris that do something wrong in their area. 

As the mayor was about to sit down to breakfast, word was brought to him that the rural policeman, with two prisoners, was awaiting him at the Hotel de Ville. He went there at once and found old Hochedur standing guard before a middleclass couple whom he was regarding with a severe expression on his face.

Exporition 

The exposition is the introduction, the author tells the reader about the characteristics and identity of two person, a man and a woman from Paris. They caught by the police of residence.

The man, a fat old fellow with a red nose and white hair, seemed utterly dejected; while the woman, a little roundabout individual with shining cheeks, looked at the official who had arrested them, with defiant eyes.

Rising Action

The author talks about the problem, it is the story that both of them are kissing in the wood. The police chaugt them and bring them to the mayor’s place. Here the explanation.

The rural policeman made his deposition: He had gone out that morning at his usual time, in order to patrol his beat from the forest of Champioux as far as the boundaries of Argenteuil. He had not noticed anything unusual in the country except that it was a fine day, and that the wheat was doing well, when the son of old Bredel, who was going over his vines, called out to him: "Here, DaddyHochedur, go and have a look at the outskirts of the wood. In the first thicket you will find a pair of pigeons who must be a hundred and thirty years old between them!"

Climax

The climax from the story is when the woman did not feel that they had a problem, but the man felt that it was wrong. After that, the climax of the story is when they catch by police because they kissing in the wood.

Falling Action

The falling action from the story is when the mayor please them to tell the story and the woman and man explain about the problem. The wife told that when they were young, their love was love each other, but now the decrease because of their job is too busy. The wife only wants to make their love increase like before.

"Years ago, when I was young, I made Monsieur Beaurain's acquaintance one Sunday in this neighborhood. He was employed in a draper's shop, and I was a saleswoman in a ready-made clothing establishment. I remember it as if it were yesterday. I used to come and spend Sundays here occasionally with a friend of mine, Rose Leveque, with whom I lived in the Rue Pigalle, and Rose had a sweetheart, while I had none. He used to bring us here, and one Saturday he told me laughing that he should bring a friend with him the next day. I quiteunderstood what he meant, but I replied that it would be no good; for I was virtuous, monsieur. 

"The next day we met Monsieur Beaurain at the railway station, and in those days he was good-looking, but I had made up my mind not to encourage him, and I did not. Well, we arrived at Bezons. It was a lovely day, the sort of day that touches your heart. When it is fine even now, just as it used to be formerly, I grow quite foolish, and when I am in the country I utterly lose my head. The green grass, the swallows flying so swiftly, the smell of the grass, the scarlet poppies, the daisies, all that makes me crazy. It is like champagne when one is not accustomed to it!

Resolution

Here he resolution from the story. It is when the Mayor laughed, he is hearing thecase and imagine about the story. Because they have made the mayor laugh, mayor please them to go home and be careful if they want to have a date in the woods. 

"I felt quite young again when I got among the wheat, for a woman's heart never grows old! And really, I no longer saw my husband as he is at present, but just as he was formerly! That I will swear to you, monsieur. As true as I am standing here I was crazy. I began to kiss him, and he was more surprised than if I had tried to murder him. He kept saying to me: 'Why, you must be mad! You are mad this morning! What is the matter with you?' I did not listen to him, I only listened to my own heart, and I made him come into the wood with me. That is all. I have spoken the truth, Monsieur le Maire, the whole truth." 

The mayor was a sensible man. He rose from his chair, smiled, and said: "Go in peace, madame, and when you again visit our forests, be more discreet."

POV

In The Wood by Guy De Maupassant is uses the third point of view because the author uses him, her, and them in the story as the plural of the story 

The rural policeman made his deposition: He had gone out that morning at his usual time, in order to patrol his beat from the forest of Champioux as far as the boundaries of Argenteuil. He had not noticed anything unusual in the country except that it was a fine day, and that the wheat was doing well, when the son of old Bredel, who was going over his vines, called out to him: 

"Here, Daddy Hochedur, go and have a look at the outskirts of the wood. In the first thicket you will find a pair of pigeons who must be a hundred and thirty years old between them!" 

He went in the direction indicated, entered the thicket, and there he heard words which made him suspect a flagrant breach of morality.

Beside that, we can see by reading the following support sentences. We can see if it is third POV from sentence of the third POV. 

Then Monsieur Beauain was seized with rage and turning to his wife, he said: "Do you see to what you have brought us with your poetry? And now we shall have to go before the courts at our age, for a breach of morals! And we shall have to shut up the shop, sell our good will, and go to some other neighborhood! That's what it has come to." 

Madame Beaurain got up, and without looking at her husband, she explained herself without embarrassment, without useless modesty, and almost without hesitation. 

"Of course, monsieur, I know that we have made ourselves ridiculous. Will you allow me to plead my cause like an advocate, or rather like a poor woman? And I hope that you will be kind enough to send us home, and to spare us the disgrace of a prosecution.

We can see, in this sentence, the author tells about them, it is support sentence of point of view. This is one of many characteristics of the third point of view. 

Monsieur Beaurain, who was looking at his feet in confusion, did not reply, and she continued: "Then he saw that I was virtuous, and he began to make love to me nicely, like an honorable man, and from that time he came every Sunday, for he was very much in love with me. I was very fond of him also, very fond of him! He was a good-looking fellow, formerly, and in short he married me the next September, and we started in business in the Rue des Martyrs. 

"It was a hard struggle for some years, monsieur. Business did not prosper, and we could not afford many country excursions, and, besides, we had got out of the way of them. One has other things in one's head, and thinks more of the cash box than of pretty speeches, when one is in business. We were growing old by degrees without perceiving it, like quiet people who do not think much about love. One does not regret anything as long as one does not notice what one has lost.

By reading the story, we can take a moral that we could be careful if we want to do anything. and Please increase our love if we feel it decreases. 

References

Maupassant, Guy de. (1850).In The Wood. The Entire Original Maupassant Short Stories.

Analysis Plot and POV of Old Love by Jeffrey Archer

THE ANALYSIS OF

JEFFRY ARCHER

OLD LOVE

By

Vina Qurrota’ Akyuningrum

Summary

Everyone has someone that he loves, but not with William Hatchard. He does not like anyone and he hates Philippa Jameson. Both of them are clever and famous, but they hate each other and have been rivals since the first tutorial of their freshman term. They have spent three years together in many competitions and became rivals. But in the third year, they will prove who is the best by following higher competitions. Charles Oldham, they are competing to win that race. 

After giving their essay, William walked down the beach and found a girl under a tree. He sees the girl clearly, she's the enemy. Philippa! She cried out in tears because Philippa's father died that morning. And William had learned that Philippa's mother had died even when Philippa had not remembered her. They walked home holding hands, even though William didn't know why he did it. The next day, William escorted Philippa's home town, accompanying Philippa to his father's funeral. He had even heard the sorrowful story of his enemies all along. On the way back, William told Phillippa that the car he used with Phillippa today is actually very special. William's father told him if William may not spend his night with a girl like now in the car who was given by his father. 

He said “If I go in the night with a barmaid then I should simply order an extra pint of beer, but if I draw the night with the vicar's daughter, I would have to marry her." Said William.

Phillippa laughed and said that she couldn't marry someone that she never liked. William smiled and said, "If I win the Charles oldam competition, you should marry me. After they arrived back at college, William got out of the car and said that he had begun to love phillipa. Philippa told him to go home and forget what William said today and hope that she would never see him again.

When it’s time for the announcement of Charles Oldham, Philippa heard the winner was her, she was very happy. But at the same time, she is sad because she has fallen in love with William and has a plan to say that she wants to marry him. 

Philippa can see that William was also sad about that announcement. It's not because of the prize, mark of popularity. It is about how he said that he can't marry Philippa. Philippa decided to say that she loved William too.

For several times William was happy, but it's like he wanted. He wants to become a winner and said that this winner is for Philippa. When someone came to them, that boy said to William that William was the winner. William and Philippa ran together to the board announcement. They can't know the winner because the judges are confused about who will become the winner. William smiled at Philippa, and asked Philippa for the second time to marry him. Phillippa says yes. Both of them are married in Philippa's hometown.

After they married, they still became rivals outside, but inside, they lived with each other. Philippa can not give William children, but William still loves Philippa. Every morning they will have breakfast and every night they will sleep together. Both of them are never far away for a long time until they are old.

One day, suddenly a doctor came to William's room when William wanted to surprise Philippa. The doctor said that Philippa had died and that fact made William very sad. William ran to the hospital and met his wife. He can see that Philippa had died. William cried and went down. He closed his eyes and stood up. He hugged his wife for the last time. He can not imagine life without Philippa. He decided to kill himself in his room after the Philippa ceremony. All the staff are very shocked when they know the fact. Their story is done, but their story will still make all people remember the beautiful love of William and Philippa.

Plot

The title of the story is Old Love by Jeffrey Archer. It is a progressive plot. This story talks about the situation, introduction, rising, conflict, climax and resolution. 

Old love, this story takes on a romantic theme. The story line is an advanced row. The author told the story by falling from two strangers to each other, until they fell in love. Each moment it creates an advanced plot.In the opening the author talks about William's behaviour. William is the person who did not love at first sight. He hates Philippa and both of them hate each other.

Some people, it is said, fall in love at first sight, but that was notwhat happened to William Hatchard and Philippa Jameson. Theyhated each other from the moment they met. This mutual loathing commenced at the first tutorial of their freshman term. Both had arrived in the early thirties with major scholarships to read English language and literature, William at Merton, Philippa at Somerville. Each had been reliably assured by their schoolteachers that they would be the star pupil of their year.

At the Olympics, they began to feel that they should keep their distance and be rivals. Her finances are starting to show signs that they won't get along for very long. Both wanted to be stars in front of each other's teachers.

Each had been reliably assured by their schoolteachers that they would be the star pupil of their year.

Both of them compete with each other. Once they had to compete with a good essay in order to get straight A from their college professors. For months, years of tofu changes, and they continue to compete. Even during the holidays they spend their time writing essays. But unfortunately, despite all their efforts, their results will still be the same.

During the long vacation both worked to a grueling timetable, always imagining the other would be doing a little more. They stripped bare Blake, Wordsworth, Coleridge, Shelley, Byron, and went to bed only with Keats. When they returned for the second year, they found that absence had made the heart grow even more hostile; and when they were both awarded A-plus for their essays on Beowulf, it didn’t help.

One day when the two had just finished the essay for the race. That everything began to change. Flowers on the banks of the river, Philippa paw alone. William was walking there and accidentally heard Philippa's cries. He approached the Philippines and asked. Who knew that the ever-mocking Phiippa had just been crying for the loss of his father.

They both handed in their twenty-five-thousand-word essays to the collector’s office in the Examination Schools and left without further word, returning to their respective colleges impatiently to await the result.

“She died when I was three. I don’t even remember her. My father is—” she paused “—was a parish priest and brought me up, sacrificing everything he had to get me to Oxford, even the family silver. I wanted so much to win the Charles Oldham for him.”

Philipa went home the next day with William to attend his father's funeral. Since then, both have been very close. Until one day, problems arose. William proposes Philipa to be his wife, but sadly, Philipa will only marry William if he succeeds in defeating his essay.

“What do you think I’m doing, you silly woman? I am going to ask you to marry me.”

“An invitation I am happy to decline, William. If I accepted such a proposal I might end up spending the rest of my life stranded on the road between Oxford and Stratford.”

Both marry after falling in love even though the race is a series. They have been married for several years, but still have no children. Outside the two are the same, competitive, but at home the two are so romantic and can never be apart for long. Until one day, when Philippa had grown old, he died, and that made William very sad in his room. Though both were gone, their love story would remain with all the days of those around them for loving one another until old age and never part until death.

The only sadness in their lives was that Philippa could bear William no children, but if anything it drew the two closer together.

The old man lay motionless on the wooden floor in a pool of blood, a small pistol by his side. The two men walked in and stared down. In his right hand, William was holding The Collected Works of John Skelton. The book was opened at “The Tunnyng of Elynour Rummyng,” And the word why wham was underlined.

POV

POV In this story it takes a third point of view. The author as the point of view tells about William and Philippa. The author makes it clear in the first paragraph that it's the third point of view. We can see in the first paragraph how the author talks about William.

Some people, it is said, fall in love at first sight, but that was not what happened to William Hatchard and Philippa Jameson. They hated each other from the moment they met. This mutual loathing commenced at the first tutorial of their freshman term. Both had arrived in the early thirties with major scholarships to read English language and literature, William at Merton, Philippa at Somerville. Each had been reliably assured by their schoolteachers that they would be the star pupil of their year.

The author tells about him (William) and her (Philippa) in the story, how they hate each other until they fall in love. It takes plural he, she, and them.

On Monday night after a resplendent dinner with the warden of Merton, he decided to take a walk along the banks of the Cherwell to clear his head before going to bed. The May evening was still light as he made his way down through the narrow confines of Merton Wall, across the meadows to the banks of the Cherwell. As he strolled along the winding path, he thought he spied his rival ahead of him under a tree, reading. He considered turning back but decided she might already have spotted him, so he kept on walking.

This story can't say it's first or second point of view because the story is told by the author, not the character. It's not used by me or you, it uses him, she and them. From the characteristics above we can take conclusions that it's a third point of view.

At the beginning of their third year they both, on Simon Jakes’s advice, applied for the Charles Oldham Shakespeare prize along with every other student in the year who was considered likely to gain a first. The Charles Oldham was awarded for an essay on a set aspect of Shakespeare’s work, and Philippa and William both realized that this would be the only time in their academic lives that they would be tested against each other in closed competition. Surreptitiously, they worked their separate ways through the entire Shakespearean canon, from Henry VI to Henry VIII, and kept Jakes well beyond his appointed tutorial hours, demanding more and more refined discussion of more and more obscure points.

From the story we can draw conclusions about its progressive plot and tell the reader about the detailed story of Old Love by Jeffrey Archer. This story is also a third point of view that is explained and told by the author. The moral values that we can learn from the story are that we may not hate to much with someone because maybe that hate will become love. Even though we don't have children, we should still love each other until the end. Last but not least, if someone leaves us, please be patient and do not kill ourselves like William.

References

Jeffrey, Archer. (1980). Old Love. The Entire Original Jaffery Archer Short Stories.