True or false modern bullfighting originated in mexico.

How did the location of islamic lands make cultural diffusion possible

Question 1 (1 point) five score years ago, a great american, in whose symbolic shadow we stand today, signed the emancipation proclamation. this momentous decree came as a great beacon light of hope to millions of negro slaves who had been seared in the flames of withering injustice. it came as a joyous daybreak to end the long night of their captivity. but one hundred years later, the negro still is not free. one hundred years later, the life of the negro is still sadly crippled by the manacles of segregation and the chains of discrimination. one hundred years later, the negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. one hundred years later, the negro is still languished in the corners of american society and finds himself an exile in his own land. and so we’ve come here today to dramatize a shameful condition. in the first paragraph of this passage, which literary technique does mlk use? question 1 options: a. this is an example of personification because it compares segregation to being in chains. b. this is an example of hyperbole because it gives it gives human characteristics to segregation. c. this is an example of allusion because it references the language used in the emancipation proclamation, which freed slaves in 1863, 100 years before this speech was presented. d. this is an example of onomatopoeia because he uses the words seared and withering to describe the injustices experienced by african americans.

What word best describes the tone of this excerpt from "the fall of the house of usher" by edgar allan poe? i looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which i can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium—the bitter lapse into everyday life—the hideous dropping off of the veil. there was an iciness, a sinking, a sickening of the heart—an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. what was it—i paused to think—what was it that so unnerved me in the contemplation of the house of usher? it was a mystery all insoluble; nor could i grapple with the shadowy fancies that crowded upon me as i pondered. i was forced to fall back upon the unsatisfactory conclusion, that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. it was possible, i reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate its capacity for sorrowful impression; and, acting upon this idea, i reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled lustre by the dwelling, and gazed down—but with a shudder even more thrilling than before—upon the remodelled and inverted images of the gray sedge, and the ghastly tree-stems, and the vacant and eye-like windows. admiration terror hope discovery loss