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English, 22.06.2019 04:00
Tori is writing a literary analysis of the novel little women. read the following claim statement she wrote about the story. in little women, louisa may alcott uses figurative language to readers understand the feelings and experiences of the central characters. which quote from the story can tori use as evidence to support her claim? a. “she knew it very well, for it was that beautiful old story of the best life ever lived, and jo felt that it was a true guidebook for any pilgrim going on a long journey.” b. “‘and so nice of annie moffat not to forget her promise. a whole fortnight of fun will be regularly splendid,’ replied jo, looking like a windmill as she folded skirts with her long arms.” c. “‘rather a pleasant year on the whole! ’ said meg, smiling at the fire, and congratulating herself on having treated mr. brooke with dignity.” d. “‘what are you thinking of, beth? ’ asked jo, when amy had her father and told about her ring.”
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English, 22.06.2019 04:50
Match the term to the correct example. 1. allusion juliet: else would i tear the cave where echo lies, / and make her airy tongue more hoarse than 2. imagery chorus: that fair for which love groan’d for and would die, / with tender juliet match’d, is now not fair. 3. personification friar laurence: therefore love moderately; long love doth so; / too swift arrives as tardy as too slow. 4. foreshadowing romeo: the brightness of her cheek would shame those stars / as daylight doth a lamp.
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English, 22.06.2019 10:10
What is the most important point that the authors make in this paragraph? most enslaved people worked under fair to good conditions. enslaved workers had decent lives if they had fair overseers. plantations often were harsh because of the cruelty of those in charge. men with absolute power can lose the sense of what it means to be good.
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English, 22.06.2019 12:30
In this excerpt from "quality" by john galsworthy, which two parts clearly indicate the literary point of view of the essay? that tenement had a certain quiet distinction; there was no sign upon its face that he made for any of the royal family—merely his own german name of gessler brothers; and in the window a few pairs of boots. i remember that it always troubled me to account for those unvarying boots in the window, for he made only what was ordered, reaching nothing down, and it seemed so inconceivable that what he made could ever have failed to fit. had he bought them to put there? that, too, seemed inconceivable. he would never have tolerated in his house leather on which he had not worked himself. besides, they were too beautiful—the pair of pumps, so inexpressibly slim, the patent leathers with cloth tops, making water come into one's mouth, the tall brown riding boots with marvellous sooty glow, as if, though new, they had been worn a hundred years. those pairs could only have been made by one who saw before him the soul of boot—so truly were they prototypes incarnating the very spirit of all foot-gear. these thoughts, of course, came to me later, though even when i was promoted to him, at the age of perhaps fourteen, some inkling haunted me of the dignity of himself and brother. for to make boots—such boots as he made—seemed to me then, and still seems to me, mysterious and wonderful.
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