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presentation skills in English 1. Practice! Naturally, you'll want to rehearse your presentation multiple times. While it can be difficult for those with packed schedules to spare time to practice, it's essential if you want to deliver a rousing presentation. I’m famous around the office for staying up late the night before a big presentation, practicing over and over. If you really want to sound great, write out your speech rather than taking chances winging it – if you get nervous about speaking, a script is your best friend. Try to practice where you'll be delivering your talk. Some acting strategists suggest rehearsing lines in various positions – standing up, sitting down, with arms open wide, on one leg, while sitting on the toilet, etc. (OK, that last one may be optional.) The more you mix up your position and setting, the more comfortable you'll feel with your speech. Do a practice run for a friend or colleague, or try recording your presentation and playing it back to evaluate which areas need work. Listening to recordings of your past talks can clue you in to bad habits you may be unaware of, as well as inspiring the age-old question: "Is that what I really sound like?" 2. Transform Nervous Energy Into Enthusiasm. It may sound strange, but I'll often down an energy drink and blast hip-hop music in my earphones before presenting. Why? It pumps me up and helps me turn jitters into focused enthusiasm. Studies have shown that an enthusiastic speech can win out over an eloquent one, and since I'm not exactly the Winston Churchill of presenters, I make sure that I'm as enthusiastic and energetic as possible before going on stage. Of course, individuals respond differently to caffeine overload, so know your own body before guzzling those monster energy drinks. presentation tips 3. Attend Other Presentations. If you're giving a talk as part of a conference, try to attend some of the earlier talks by other presenters to scope out their presentation skills and get some context. This shows respect for your fellow presenters while also giving you a chance to feel out the audience. What's the mood of the crowd? Are folks in the mood to laugh or are they a bit more stiff? Are the presentations more strategic or tactical in nature? Another speaker may also say something that you can play off of later in your own presentation. 4. Arrive Early. It's always best to allow yourself plenty of time to settle in before your talk. Extra time ensures you won't be late (even if Google Maps shuts down) and gives you plenty of time to get adapted to your presentation space. 5. Adjust to Your Surroundings. The more adjusted to your environment you are, the more comfortable you'll feel. Make sure to spend some in the room where you will be delivering your presentation. If possible, practice with the microphone and lighting, make sure you understand the seating and be aware of any distractions potentially posed by the venue (e.g., a noisy road outside). larry kim presentation tips 5 minutes before my Inbound presentation … gulp 6. Meet and Greet. Do your best to chat with people before your presentation. Talking with audiences makes you seem more likeable and approachable. Ask event attendees questions and take in their responses. They may even give you some inspiration to weave into your talk. Want more great tips? Check out our Digital Marketer's Road Map! 7. Use Positive Visualization. Whether or not you’re a Zen master, know that plenty of studies have proven the effectiveness of positive visualization. When we imagine a positive outcome to a scenario in our mind, it's more likely to play out the way we envision. Instead of thinking "I'm going to be terrible out there" and visualizing yourself throwing up mid-presentation, imagine yourself getting tons of laughs while presenting with the enthusiasm of Jimmy Fallon and the poise of Audrey Hepburn (the charm of George Clooney wouldn't hurt either). Positive thoughts can be incredibly effective – give them a shot. presentation skills 8. Remember That Most Audiences Are Sympathetic. One of the hardest fears to shake when speaking in public is that the audience is secretly waiting to laugh at your missteps or mistakes. Fortunately, this isn’t the case in the vast majority of presentations. The audience wants to see you succeed. In fact, many people have a fear of public speaking, so even if the audience seems indifferent, the chances are pretty good that most people listening to your presentation can relate to how nerve-racking it can be. If you start to feel nervous, remind yourself that the audience gets it, and actually wants to see you nail it. 9. Take Deep Breaths. The go-to advice for jitters has truth to it. When we're nervous, our muscles tighten--you may even catch yourself holding your breath. Instead, go ahead and take those deep breaths to get oxygen to your brain and relax your body. 10. Smile. Smiling increases endorphins, replacing anxiety with calm and making you feel good about your presentation. Smiling also exhibits confidence and enthusiasm to the crowd. And this tip works even if you're doing a webinar and people can't see you. Just don't overdo it – no one enjoys the maniacal clown look. creepy clown Don’t be like this guy. 11. Exercise. Exercise earlier in the day prior to your presentation to boost endorphins, which will help alleviate anxiety. Better pre-register for that Zumba class! 12. Work on Your Pauses. When you're nervous, it's easy to speed up your presentation and end up talking too fast, which in turn causes you to run out of breath, get more nervous, and panic! Ahh! Don't be afraid to slow down and use pauses in your speech. Pausing can be used to emphasize certain points and to help your talk feel more conversational. If you feel yourself losing control of your pacing, just take a nice pause and keep cool. 13. Don’t Try to Cover Too Much Material. Yes, your presentations should be full of useful, insightful, and actionable information, but that doesn’t mean you should try to condense a vast and complex topic into a 10-minute presentation. 90 slides in 30 minutes? Only from @larrykim #stateofsearch — Kate Gwozdz (@KateGwozdz) November 17, 2014 Knowing what to include, and what to leave out, is crucial to the success of a good presentation. I’m not suggesting you skimp when it comes to data or including useful slides (some of my webinars have featured 80+ slides), but I am advocating for a rigorous editing process. If it feels too off-topic, or is only marginally relevant to your main points, leave it out. You can always use the excess material in another presentation. 14. Actively Engage the Audience. People love to talk and make their opinions heard, but the nature of presentations can often seem like a one-sided proposition. It doesn’t have to be, though. Asking the audience what they think, inviting questions, and other means of welcoming audience participation can boost engagement and make attendees feel like a part of a conversation. It also makes you, the presenter, seem much more relatable. Consider starting with a poll or survey. Don’t be put off by unexpected questions – instead, see them as an opportunity to give your audience what they want. how do I improve my presentation skills Hopefully this man has a question, and doesn’t just need to go to the bathroom. 15. Be Entertaining. Even if your presentation is packed with useful information, if your delivery bombs, so will your session. I find that including some jokes and light-hearted slides is a great way to help the audience (and myself) feel more comfortable, especially when presenting them with a great deal of information. However, it’s important to maintain a balance – after all, you’re not performing a stand-up routine, and people didn’t come to your presentation with the sole intention of being entertained. That said, don’t be afraid to inject a little humor into your talk. If you’re not sure about whether a presentation is “too much, ” run through it for a couple of friends and ask them to tell it to you straight. 16. Admit You Don’t Have All the Answers. Very few presenters are willing to publicly concede that they don’t actually know everything because they feel it undermines their authority. However, since we all know that nobody can ever know everything about a given topic, admitting so in a presentation can actually improve your credibility. I don't know If someone asks a question that stumps you, it’s okay to admit it. This can also increase your credibility with the audience, as it demonstrates that, no matter how knowledgeable a person might be, we’re all learning, all the time. Nobody expects you to be an omniscient oracle of forbidden knowledge – they just want to learn from you. 17. Use a Power Stance. Practicing confident body language is another way to boost your pre-presentation jitters. When your body is physically demonstrating confidence, your mind will follow suit. While you don't want to be jutting out your chest in an alpha gorilla pose all afternoon (somebody enjoyed Dawn of the Planet of the Apes a bit too much), studies have shown that using power stances a few minutes before giving a talk (or heading to a big interview) creates a lasting sense of confidence and assurance. Whatever you do, don't sit--sitting is passive. Standing or walking a bit will help you harness those stomach bats (isn't that more appropriate than butterflies?). Before you go on stage, strike your best Power Ranger stance and hold your head high! presentation power stance 18. Drink Water. Dry mouth is a common result of anxiety. Prevent cottonmouth blues by staying hydrated and drinking plenty of water before your talk (just don't forget to hit the bathroom before starting). Keep a bottle of water at arm's reach while presenting in case you get dry mouth while chatting up a storm. It also provides a solid object to hurl at potential hecklers. (That'll show 'em.) 19. Join Toastmasters. Toastmaster clubs are groups across the country (and the world) dedicated to helping members improve their presentation skills. Groups get together during lunch or after work to take turns delivering short talks on a chosen topic. The more you present, the better you'll be, so consider joining a Toastmaster club to become a top-notch orator. Just don't forget, it's BYOB (Bring Your Own Bread). 20. Don't Fight the Fear. Accept your fear rather than trying to fight it. Getting yourself worked up by wondering if people will notice your nervousness will only intensify your anxiety. Remember, those jitters aren't all bad – harness that nervous energy and transform it into positive enthusiasm and you'll be golden. We salute you, O Captain! My Captain!
PERSONALITY DEVELOPMENT CLASSES IN NAGPUR Personality Development Tips Be as positive as a proton A proton can never lose its positivity as so can’t you! It just gets covered by stress which saps your energy. Staying positive will help you overcome the toughest of challenges while attracting more positivity and opportunities. Be more passionate The best way to get any work done is by being passionate about it. Let your passion drive your efforts and you’ll be able to achieve excellence in life. Handle your emotions…with care If life is a roller-coaster ride, then make sure you are enjoying it to the max. Don’t let your emotions take control of situations but learn to get a grip on them. This will help you stay centered and calm during challenging situations. Share a little, care a little Learn to be more compassionate! The next time you or somebody else commits an error, let them off the hook without holding a grudge. Broaden your perspective that we all are evolving continuously and that no one’s perfect. This outlook will help you accept yourself and others better. Praise the one in front of you When we praise someone’s qualities out of the feeling of completeness, then it elevates our consciousness and brings enthusiasm and energy. It helps the same qualities blossom in us too and we become better individuals. Communicate effectively We communicate either through our presence or by expressing our feelings. Bring clarity in your communication and you’ll see people respond to you better, and more than often favorably. Be a lion in the face of danger In the face of an adversity, standing up to the challenge will make your chances of survival higher. Don’t give into pressure and face every challenge confidently. Either you will overcome the adversity or learn something invaluable. Possess the quality of patience Patience is the secret ingredient for becoming a winner. Feverishness and prompt reactions will do more harm than good. Remember to stay calm and patient to remain stress-free and for making wise and swift decisions. Learn the Art of Breathing Right Last but not the least, breathe properly. Often largely ignored, breathing holds the key to a stress-free and positive life. Harness the true power of breath by learning Sudarshan Kriya - a simple yet highly effective breathing technique that clears stress at physical, mental and emotional levels of our being. When you learn to breathe right with Sudarshan Kriya, you get the tool to improve inter-personal relationships, and allow the charming aspects of our personality to shine. How to improve your personality? Every Art of Living program comprises of the potent tool - Sudarshan Kriya to enhance and develop your personality. Take the first step of breathing right and you are well on your way to developing your personality. Importance of the Personality Development program Building confidence and boosting enthusiasm Promoting a zealous outlook towards life Imbibing positive thoughts and actions Personality Development Benefits Stress-free and healthier life Better decision making ability Enhanced confidence level A more pleasing personality
UNIQUE CLASS ROOM ACTIVITIES Why Using Creativity in the Language Classroom Benefits Learning Boosts participation. Giving students the power to create on their own—whether it be presentations, arguments or assignments—keeps them on their toes. They won’t just be going through the motions. Unable to rely on routine, they will be alert and waiting to hear what you have in store for them next. Produces an endless supply of original course material. Asking students for their two cents when laying out your class results in a curriculum that the entire class is invested in. Letting them help plan creates ownership. Promotes active learning. By asking students to think outside the box, stray beyond normal assignment guidelines and use their own creativity, you can keep them in the realm of active learning for longer periods of time. Creates a fun and positive learning environment in the classroom. Not only does creativity make class more enjoyable for the students, but it is also more fun for you, the teacher. Students have so much to offer, and sometimes stepping out of your normal routine and feeding off of their creative energy can do wonders. Fun and positivity are contagious. Creativity is the spark that gets it all going. Improves language retention. Ultimately this is what we are after. Our goal is to teach students a language. When the other four factors come together, the result will be improved retention due to increased participation, quality assignments, active learning and fun.
Keys to a Creative Language Classroom 1. Resist Running Like Clockwork Routines can be useful. They are a sequence of habits that keep you on track and prevent complications. Not every day has to be a completely unique language learning experience. A little routine never hurt anyone, but zero creativity can. Throwing in some spontaneity every now and then increases the level of default alertness that your students operate at. Routines are comfortable, sometimes too comfortable, letting students sit back and “turn off.” Mixing things up requires them to pay more attention and listen carefully. The mental stimulation and social gratification that results from being creative literally enhances brain cells and memory, leading to more “Eureka!” moments. One way to keep students on their toes is to throw a wrench into their normal routine. Do something completely different. For example, by getting students up and about: Take students on a walk around the school or the block, asking them to write down all of the words that they see. If along the way they notice any objects for which they do not know the term, have them sketch a picture of it. Meet in a lobby or park and review the identified words. Play a game of Pictionary where one student sketches the objects that he or she saw and fellow students have the chance to guess the correct term (i.e. a fire hydrant, traffic light or gate). This activity works well as a “wrench” because it is not something that you can do every day. Other examples include interactive art projects, which we’ll discuss later, and games that get them moving, like charades or Jeopardy. The purpose of these activities is to surprise students and give them something unexpected that they don’t do regularly. We want to keep them on their toes and remind them to stay alert, because in your classroom anything can happen. 2 2. Invert the Routine You don’t have to completely change the routine to mix things up, you just have to change how the routine looks from the outside. If you run the same three-mile loop every day, pretty soon your body will get used to it and it will become easy. Give yourself a new three-mile loop and all of a sudden you’ll be challenged again. The same is true with our students’ brains. We want to keep them from getting too comfortable. Let’s take a look at some tricks to help clarify: Do the opposite. Take something familiar and do it differently. For example, if you always teach from the front of the class, try teaching from the back; if your students always sit in rows, try putting them in a circle. Switch up the order. Do daily activities in a different order. If you usually give a homework assignment at the end of class, for example, give it at the beginning instead. Change roles. Let students do the work. For example, if you usually read out the class schedule every morning, have one of your students do it one day. Those are a few simple ideas, but I’m sure you can come up with many more. These twists require little to no preparation, and are subtle enough to keep students from getting overly excited or distracted. What do these examples have in common? They pull students out of their daily habits. We are disorienting them slightly in order to give them a new perspective and keep them alert. 3. Give Students the Power As teachers our best source of inspiration is our students themselves. It’s okay to ask them for their ideas and opinions when designing a curriculum. Students are used to being told what to do and just going with the flow. Pull them back out of passive mode by giving them the power. Let them have a stake in the class by helping plan the curriculum for the next day or week. Here are some ways to do so: Let students choose. Describe two assignments then ask something like “Sarah, which exercise would you like to do first?” Giving them the chance to choose will instantly wake them back up. Involve students in scheduling. Present interchangeable topics that you plan to teach the following week. Write the days of the week on the board then ask students which topics they’d like to learn on which day. Have them explain their logic. Write the topics down next to the corresponding day and ta-da, you have a student-made schedule. Regularly ask for feedback. Ask students if they have a favorite language exercise or assignment. If so, then conduct it more frequently. Oftentimes what they want and what they need are the same thing. They’ll be the first to know if they’re losing interest or not understanding something. Creativity is generally linked to poetry or painting, but it can be much subtler. Just by giving students the agency to freely design their own schedule, you have encouraged them to use their creative muscles. Thank them for their help afterwards and it’s a triple whammy: You’ve engaged them, praised them and made them more invested in the week ahead. They planned it after all. 4. Relax the Rules Imagine a class of students who are all at the same level and who are all equally proactive. It’s hard to envision, right? As far as I know, it doesn’t exist. There are generally a few students who lead the way and the rest follow suit. Yup, creativity can also help solve this challenge. Deemphasizing the rules levels the playing field because exercises become more dependent on interpretation and individual experience. Try distributing the power with these activities: Vary the assignment by group. Split the class up and give each group or pair a slightly different set of rules for the “same” assignment. For example, have them create their own advertisements but give each group a different product to sell or audience to focus on. Groups will not be able to depend on the examples they see around them. They will be forced to look to their own understanding and creativity. Leave room for interpretation. The following week, split the class up again. Students will remember your tricky directions from last week so they’ll be ready for the twist. Don’t give it to them directly. Go around and explain the assignment to each group, giving them all the same directions. For example: Pick an object in the room and write a 300-word excerpt based on it. Notice how these directions are purposefully vague and limited, allowing for the students to fill in the blanks themselves. Each group will finish with something slightly different, maybe a poem about fellow students or a story about their new shoes. Invoke the senses. Association exercises are great for encouraging personal creativity. Play a sound to the class. It could be nature sounds, city sounds or something else, which can all be found on YouTube. Ask students to explain what they feel when they hear it, or to write a story to accompany the sounds. Another exercise involves students choosing a smell, noise or feeling that brings back a strong memory for them. They can write about it and then share it. All of these assignments encourage creativity by preventing students from becoming followers or looking to one another for assistance. It requires them to interpret instructions for themselves, trust their own perceptions or draw on personal experience. This is creativity in itself. 5. Embrace the Arts Perhaps the most straightforward form of creativity is art, which can include stories, plays, music, poems, mime and dance. These activities diversify coursework, require extremely proactive participation and establish a positive classroom environment. Art is cathartic, letting students express themselves in a safe environment while having fun and learning. Here are some artistic exercises that do just that: React to abstract art. Have students react to abstract art, like Picasso, or poems. Ask open-ended questions like, “What do you see here?, ” “What is happening?” and “What do you think is going to happen next?” Encourage them to use the present progressive. As students will interpret the art differently, you can use the ensuing class discussion to teach or revisit a lesson on politely disagreeing. Write a poem. Show students a photograph or painting. Ask them to write a short poem to accompany the artwork. Describe music. Play a song to the class. Try an instrumental movie theme, like “Jurassic Park, ” “Star Wars” or “Hook” (I’m clearly a John Williams fan). Teach vocabulary by asking students to identify what instruments they hear. Make a list on the board. You can also ask, “What instruments make this song sound sorrowful or upbeat?, ” “What is your favorite part and why?, ” “How does the song make you feel?” and “What do you associate with it?” Remind students that there is no right or wrong. Through engaging with the pieces, they’re learning new vocabulary and learning how to express or defend their opinions. Art has a visceral effect on students that you will be able to observe. They will be more lively and talkative. For this reason, it’s nice to save this assignment for after lunch or the end of the day when their energy starts to fade. Because it is thought-provoking and emotional, artwork inspires further creativity. It will make students forget that they’re learning a language, but will encourage them to use the language so that they can engage with the art. Enjoy stimulating your class’s creative side and putting these five tricks to work. Chances are your students will remember them for a long time to come, meaning that they’ll also remember the vocabulary and grammar that went along with it. Once the creative juices start flowing, they will find their way into the rest of your curriculum, resulting in a more engaged, positive and effective class.
What are the origins of the English Language? The history of English is conventionally, if perhaps too neatly, divided into three periods usually called Old English (or Anglo-Saxon), Middle English, and Modern English. The earliest period begins with the migration of certain Germanic tribes from the continent to Britain in the fifth century A.D., though no records of their language survive from before the seventh century, and it continues until the end of the eleventh century or a bit later. By that time Latin, Old Norse (the language of the Viking invaders), and especially the Anglo-Norman French of the dominant class after the Norman Conquest in 1066 had begun to have a substantial impact on the lexicon, and the well-developed inflectional system that typifies the grammar of Old English had begun to break down. The following brief sample of Old English prose illustrates several of the significant ways in which change has so transformed English that we must look carefully to find points of resemblance between the language of the tenth century and our own. It is taken from Aelfric's "Homily on St. Gregory the Great" and concerns the famous story of how that pope came to send missionaries to convert the Anglo-Saxons to Christianity after seeing Anglo-Saxon boys for sale as slaves in Rome: Eft he axode, hu ðære ðeode nama wære þe hi of comon. Him wæs geandwyrd, þæt hi Angle genemnode wæron. Þa cwæð he, "Rihtlice hi sind Angle gehatene, for ðan ðe hi engla wlite habbað, and swilcum gedafenað þæt hi on heofonum engla geferan beon." A few of these words will be recognized as identical in spelling with their modern equivalents—he, of, him, for, and, on—and the resemblance of a few others to familiar words may be guessed—nama to name, comon to come, wære to were, wæs to was—but only those who have made a special study of Old English will be able to read the passage with understanding. The sense of it is as follows: Again he [St. Gregory] asked what might be the name of the people from which they came. It was answered to him that they were named Angles. Then he said, "Rightly are they called Angles because they have the beauty of angels, and it is fitting that such as they should be angels' companions in heaven." Some of the words in the original have survived in altered form, including axode (asked), hu (how), rihtlice (rightly), engla (angels), habbað (have), swilcum (such), heofonum (heaven), and beon (be). Others, however, have vanished from our lexicon, mostly without a trace, including several that were quite common words in Old English: eft "again, " ðeode "people, nation, " cwæð "said, spoke, " gehatene "called, named, " wlite "appearance, beauty, " and geferan "companions." Recognition of some words is naturally hindered by the presence of two special characters, þ, called "thorn, " and ð, called "edh, " which served in Old English to represent the sounds now spelled with th. Other points worth noting include the fact that the pronoun system did not yet, in the late tenth century, include the third person plural forms beginning with th-: hi appears where we would use they. Several aspects of word order will also strike the reader as oddly unlike ours. Subject and verb are inverted after an adverb—þa cwæð he "Then said he"—a phenomenon not unknown in Modern English but now restricted to a few adverbs such as never and requiring the presence of an auxiliary verb like do or have. In subordinate clauses the main verb must be last, and so an object or a preposition may precede it in a way no longer natural: þe hi of comon "which they from came, " for ðan ðe hi engla wlite habbað "because they angels' beauty have." Perhaps the most distinctive difference between Old and Modern English reflected in Aelfric's sentences is the elaborate system of inflections, of which we now have only remnants. Nouns, adjectives, and even the definite article are inflected for gender, case, and number: ðære ðeode "(of) the people" is feminine, genitive, and singular, Angle "Angles" is masculine, accusative, and plural, and swilcum "such" is masculine, dative, and plural. The system of inflections for verbs was also more elaborate than ours: for example, habbað "have" ends with the -að suffix characteristic of plural present indicative verbs. In addition, there were two imperative forms, four subjunctive forms (two for the present tense and two for the preterit, or past, tense), and several others which we no longer have. Even where Modern English retains a particular category of inflection, the form has often changed. Old English present participles ended in -ende not -ing, and past participles bore a prefix ge- (as geandwyrd "answered" above). The period of Middle English extends roughly from the twelfth century through the fifteenth. The influence of French (and Latin, often by way of French) upon the lexicon continued throughout this period, the loss of some inflections and the reduction of others (often to a final unstressed vowel spelled -e) accelerated, and many changes took place within the phonological and grammatical systems of the language. A typical prose passage, especially one from the later part of the period, will not have such a foreign look to us as Aelfric's prose has; but it will not be mistaken for contemporary writing either. The following brief passage is drawn from a work of the late fourteenth century called Mandeville's Travels. It is fiction in the guise of travel literature, and, though it purports to be from the pen of an English knight, it was originally written in French and later translated into Latin and English. In this extract Mandeville describes the land of Bactria, apparently not an altogether inviting place, as it is inhabited by "full yuele [evil] folk and full cruell." In þat lond ben trees þat beren wolle, as þogh it were of scheep; whereof men maken clothes, and all þing þat may ben made of wolle. In þat contree ben many ipotaynes, þat dwellen som tyme in the water, and somtyme on the lond: and þei ben half man and half hors, as I haue seyd before; and þei eten men, whan þei may take hem. And þere ben ryueres and watres þat ben fulle byttere, þree sithes more þan is the water of the see. In þat contré ben many griffounes, more plentee þan in ony other contree. Sum men seyn þat þei han the body vpward as an egle, and benethe as a lyoun: and treuly þei seyn soth þat þei ben of þat schapp. But o griffoun hath the body more gret, and is more strong, þanne eight lyouns, of suche lyouns as ben o this half; and more gret and strongere þan an hundred egles, suche as we han amonges vs. For o griffoun þere wil bere fleynge to his nest a gret hors, 3if he may fynde him at the poynt, or two oxen 3oked togidere, as þei gon at the plowgh. The spelling is often peculiar by modern standards and even inconsistent within these few sentences (contré and contree, o [griffoun] and a [gret hors], þanne and þan, for example). Moreover, in the original text, there is in addition to thorn another old character 3, called "yogh, " to make difficulty. It can represent several sounds but here may be thought of as equivalent to y. Even the older spellings (including those where u stands for v or vice versa) are recognizable, however, and there are only a few words like ipotaynes "hippopotamuses" and sithes "times" that have dropped out of the language altogether. We may notice a few words and phrases that have meanings no longer common such as byttere "salty, " o this half "on this side of the world, " and at the poynt "to hand, " and the effect of the centuries-long dominance of French on the vocabulary is evident in many familiar words which could not have occurred in Aelfric's writing even if his subject had allowed them, words like contree, ryueres, plentee, egle, and lyoun. In general word order is now very close to that of our time, though we notice constructions like hath the body more gret and three sithes more þan is the water of the see. We also notice that present tense verbs still receive a plural inflection as in beren, dwellen, han, and ben and that while nominative þei has replaced Aelfric's hi in the third person plural, the form for objects is still hem. All the same, the number of inflections for nouns, adjectives, and verbs has been greatly reduced, and in most respects Mandeville is closer to Modern than to Old English. The period of Modern English extends from the sixteenth century to our own day. The early part of this period saw the completion of a revolution in the phonology of English that had begun in late Middle English and that effectively redistributed the occurrence of the vowel phonemes to something approximating their present pattern. (Mandeville's English would have sounded even less familiar to us than it looks.) Other important early developments include the stabilizing effect on spelling of the printing press and the beginning of the direct influence of Latin and, to a lesser extent, Greek on the lexicon. Later, as English came into contact with other cultures around the world and distinctive dialects of English developed in the many areas which Britain had colonized, numerous other languages made small but interesting contributions to our word-stock. The historical aspect of English really encompasses more than the three stages of development just under consideration. English has what might be called a prehistory as well. As we have seen, our language did not simply spring into existence; it was brought from the Continent by Germanic tribes who had no form of writing and hence left no records. Philologists know that they must have spoken a dialect of a language that can be called West Germanic and that other dialects of this unknown language must have included the ancestors of such languages as German, Dutch, Low German, and Frisian. They know this because of certain systematic similarities which these languages share with each other but do not share with, say, Danish. However, they have had somehow to reconstruct what that language was like in its lexicon, phonology, grammar, and semantics as best they can through sophisticated techniques of comparison developed chiefly during the last century. Similarly, because ancient and modern languages like Old Norse and Gothic or Icelandic and Norwegian have points in common with Old English and Old High German or Dutch and English that they do not share with French or Russian, it is clear that there was an earlier unrecorded language that can be called simply Germanic and that must be reconstructed in the same way. Still earlier, Germanic was just a dialect (the ancestors of Greek, Latin, and Sanskrit were three other such dialects) of a language conventionally designated Indo-European, and thus English is just one relatively young member of an ancient family of languages whose descendants cover a fair portion of the globe.