8 2. PART B: Which TWO of the following quotes best support the answer to Part A?
O A "Our life is frittered away by detail... Simplicity, simplicity, simplicity!" ( Paragraph 2)
OB "Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and
ride thirty miles an hour" ( Paragraph 2)
OC "Why should we live with such hurry and waste of life? We are determined to be starved before we are hungry
Paragraph 3)
OD "Hardly a man takes a half-hour's nap after dinner, but when he wakes he holds up his head and asks, 'What's the
news?" ( Paragraph 3)
DE "For my part, I could easily do without the post-office. I think that there are very few important communications
made through it." ( Paragraph 4)
OF "Men esteem truth remote, in the outskirts of the system, behind the farthest star, before Adam and after the
last man." ( Paragraph 6)
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the rhetorical devices that he used in "common sense" are syntax for his sentence structure and pathos for his emotion against the british unfairly treating the "americans" and logos of what documents that what happened to the pilgrims when they had the mayflower compact and how that the british were wanting to have one religion but the compact said for any religion to be accepted.

answer:   a good wench, give it me.

iago

good girl, give it to me.

emilia

what will you do with ’t, that you have been so earnest

325to have me filch it?

emilia

and what are you going to do with it? why did you want it so much that you begged me to steal it?

iago

  why, what is that to you?

iago

what’s it to you?

emilia

if it be not for some purpose of import,

give ’t me again. poor lady, she’ll run mad

when she shall lack it.

emilia

if you don’t need it for some important reason, then give it back to me. poor lady, she’ll go crazy when she sees it’s missing.

iago

be not acknown on ’t,

330i have use for it. go, leave me.

iago

don’t admit to knowing anything about it. i need it. now go, leave me.

exit emilia

emilia exits.

i will in cassio’s lodging lose this napkin

and let him find it. trifles light as air

are to the jealous confirmations strong

as proofs of holy writ. this may do something.

335the moor already changes with my poison.

dangerous conceits are in their natures poisons

which at the first are scarce found to distaste,

but with a little act upon the blood

burn like the mines of sulfur.

i’ll leave this handkerchief at cassio’s house and let him find it.to a jealous man, a meaningless little thing like this looks like absolute proof. this handkerchief may be useful to me. the moor’s mind has already become infected with my poisonous suggestions. ideas can be like poisons. at first they hardly even taste bad, but once they get into your blood they start burning like hot lava.

enter othello

othello enters.

    i did say so.

340look, where he comes. not poppy nor mandragora

nor all the drowsy syrups of the world,

shall ever medicine thee to that sweet sleep

which thou owedst yesterday.

here he comes. no drugs or sleeping pills will ever give you the restful sleep that you had last night.

othello

    ha! ha! false to me?

othello

argh! she’s cheating on me?

iago

why, how now, general? no more of that.

iago

oh, general, , no more of that!

explanation:

first of all the mood needs to be defined: it is obviously a mood of deceitful relief and serenity. why? because the cape horn is one of the most violent maritime regions of earth and although it has been left behind, it is a personification of ahab’s delirium and the fact that the end of the passage speaks about it about being “hidden” but “raving” immediately conveys the feeling the calm is not permanent but fleeting.

furthermore, the oxymoron “mild stun'sails” is the first instance of such feeling as the adjective “mild” is associated with “stunned” underscoring the fleeting nature of this “tranquil” moment. and the contrasts keep piling up, with the opposition between “dark den” and “blessed light and air” to end with the final conclusion that leaves the reader with the uneasy knowledge that this is just a reprieve.

each morning i wrote my name

on the dusty cabinet, then crossed

the dining table in script, scrawled

in capitals on the backs of chairs,

practicing signatures like scales

while mother followed squirting

linseed from a burping can