Answer:
The same structure, in indirect or reported form, would be:
The principal will say that rules have to be followed at any cost.
Explanation:
<u>When reporting what someone said, we must change the verb tenses according to when the line was said. If there are any pronouns in the sentence, those may also need to be changed to match the speaker - for instance, if a man said something about himself, we should change "I" for "he". We also change time expressions, such as substituting "today" for "that day".</u>
<u>Not much changes in the sentence we are transforming here since the line inside the quotation marks does not present time expressions or pronouns. Another reason for that is the verb tense. Because it is "will say", which is a future, we do not have to change the verb tense inside the quotation marks.</u>
Just to make it clearer, imagine that the principal already said that: The principal said, "Rules have to be followed at any cost." Now the tense is in the past, "said". In this case, we should also change the tense inside the quotation marks. It would be: The principal said that rules had to be followed at any cost.
<span>The answer to the question is, "It seems that Kahlo's parents did not care about their daughter." This statement is asserting a subjective opinion that is open to interpretation depending on the overall emotion of the reader and author. The other statements, "Frida Kahlo's parents did not visit her in the hospital. The Kahlo family struggled with poverty and other issues. Matita, Frida's sister, came frequently to help at the hospital," are just asserting facts, not opinions.</span>
In the figures of the civil watch and the Prince, the brawl introduces the audience to a different aspect of the social world of Verona that exists beyond the Montagues and Capulets. This social world stands in constant contrast to the passions inherent in the Capulets and Montagues. The give-and-take between the demands of the social world and individuals’ private passions is another powerful theme in the play. For example, look at how the servants try to attain their desire while remaining on the right side of the law. Note how careful Samson is to ask, “Is the law on our side, if I say ‘Ay,’” before insulting the Montagues (1.1.42). After the Prince institutes the death penalty for any who disturb the peace again, the stakes for letting private passions overwhelm public sobriety are raised to a new level.
Finally, this first scene also introduces us to Romeo the lover. But that introduction comes with a bit of a shock. In a play called Romeo and Juliet we would expect the forlorn Romeo to be lovesick over Juliet. But instead he is in love with Rosaline. Who is Rosaline? The question lingers through the play. She never appears onstage, but many of Romeo’s friends, unaware that he has fallen in love with and married Juliet, believe he is in love with Rosaline for the entirety of the play. And Friar Lawrence, for one, expresses shock that Romeo’s affections could shift so quickly from Rosaline to Juliet. In this way, Rosaline haunts Romeo and Juliet. One can argue that Rosaline exists in the play only to demonstrate Romeo’s passionate nature, his love of love. For example, in the clichés he spouts about his love for Rosaline: “Feather of lead, bright smoke, cold fire, sick health” (1.1.173). It seems that Romeo’s love for chaste Rosaline stems almost entirely from the reading of bad love poetry. Romeo’s love for Rosaline, then, seems an immature love, more a statement that he is ready to be in love than actual love. An alternative argument holds that Romeo’s love for Rosaline shows him to be desirous of love with anyone who is beautiful and willing to share his feelings, thereby sullying our understanding of Romeo’s love with Juliet. Over the course of the play, the purity and power of Romeo’s love for Juliet seems to outweigh any concerns about the origin of that love, and therefore any concerns about Rosaline, but the question of Rosaline’s role in the play does offer an important point for consideration.
