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Julli [10]
2 years ago
13

"The, more, I, think, the, more, certain, I, am, that, obedience, is, the, gateway, through, which, knowledge, enters, the, mind

, of, the, child—” (On the word “obedience” a shaft of sunlight hits the water pump outside, while ANNIE’S voice ends in the dark, followed by distant cockcrow . . .) —The Miracle Worker, William Gibson Which detail from the stage directions describes a detail from the setting? The, more, I, think, the, more, certain, I, am” “through, which, knowledge, enters, the, mind, of, the, child—” obedience, is, the, gateway” a shaft of sunlight hits the water pump outside
The, more, I, think, the, more, certain, I, am”
“through, which, knowledge, enters, the, mind, of, the, child—”
obedience, is, the, gateway”
a shaft of sunlight hits the water pump outside
English
2 answers:
suter [353]2 years ago
7 0

Answer:

D. A shaft of hits the water pump outside

Explanation:

(The answer above me is the correct answer and deserves brainliest.)

Gelneren [198K]2 years ago
6 0

Answer:

a shaft of sunlight hits the water pump outside

Explanation:

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Which sentence describes an example of situational irony in Gulliver's Travels?
motikmotik

Answer: A) Instead of horses pulling carriages full of people, people pull carriages full of horses.

Explanation: an irony is a state of affairs or an event that seems contrary to what one expects and it often has an amusing result. A situational irony is when what happens is the contrary to what the characters or the audience are expecting to happen. From the given options, the sentence that describes an example of situational irony in Gulliver's Travels, is the corresponding to option A, because it is the contrary of what one would expect.

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Which lines from the raven by Edgar Allen Poe show that the same speaker has lost hope of ever being able to move on and recover
Hitman42 [59]
The correct answer for the question that is being presented above is this one: "Leave my loneliness unbroken! quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door!" That line shows that the speaker has lost hope of ever being able to move on and recover from the pain of losing Lenore.

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What makes the ending of "The Necklace" Ironic? Atleast a one paragraph response!
tatuchka [14]
The necklace is ironic in the fact that when the necklace is borrowed it is believed to be a real diamond necklace. When she loses the "diamond necklace" she works very long to repay the person she borrowed from because she thinks the necklace she lost was worth much money. When she gives the money to the person she borrowed from and confesses that she lost it she was told that the necklace was a fake and that she worried and worked for many years over nothing. This is an example of situational irony. She thought the necklace was worth very much money when it was really only worth very little
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Respond to the following prompt by writing an essay of at least 750 words. According to Camus in “The Myth of Sisyphus,” “…fate.
disa [49]

Answer:The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labor.

If one believes Homer, Sisyphus was the wisest and most prudent of mortals. According to another tradition, however, he was disposed to practice the profession of highwayman. I see no contradiction in this. Opinions differ as to the reasons why he became the futile laborer of the underworld. To begin with, he is accused of a certain levity in regard to the gods. He stole their secrets. Aegina, the daughter of Aesopus, was carried off by Jupiter. The father was shocked by that disappearance and complained to Sisyphus. He, who knew of the abduction, offered to tell about it on condition that Aesopus would give water to the citadel of Corinth. To the celestial thunderbolts he preferred the benediction of water. He was punished for this in the underworld. Homer tells us also that Sisyphus had put Death in chains. Pluto could not endure the sight of his deserted, silent empire. He dispatched the god of war, who liberated Death from the hands of the conqueror.

It is said also that Sisyphus, being near to death, rashly wanted to test his wife's love. He ordered her to cast his unburied body into the middle of the public square. Sisyphus woke up in the underworld. And there, annoyed by an obedience so contrary to human love, he obtained from Pluto permission to return to earth in order to chastise his wife. But when he had seen again the face of this world, enjoyed water and sun, warm stones and the sea, he no longer wanted to go back to the infernal darkness. Recalls, signs of anger, warnings were of no avail. Many years more he lived facing the curve of the gulf, the sparkling sea, and the smiles of the earth. A decree of the gods was necessary. Mercury came and seized the impudent man by the collar and, snatching him from his joys, led him forcibly back to the underworld, where his rock was ready for him.

You have already grasped that Sisyphus is the aburd hero. He is,as much through his passions as through his torture. His scorn of the gods, his hatred of death, and his passion for life won him that unspeakable penalty in which the whole being is exerted toward accomplishing nothing. This is the price that must be paid for the passions of this earth. Nothing is told us about Sisyphus in the underworld. Myths are made for the imagination to breathe life into them. As for this myth, one sees merely the whole effort of a body straining to raise the huge stone, to roll it and push it up a slope a hundred times over; one sees the face screwed up, the cheek tight against the stone, the shoulder bracing the clay-covered mass, the foot wedging it, the fresh start with arms outstretched, the wholly human security of two earth-clotted hands. At the very end of his long effort measured by skyless space and time without depth, the purpose is achieved. Then Sisyphus watches the stone rush down in a few moments toward that lower world whence he will have to push it up again toward the summit. He goes back down to the plain. It is during that return, that pause, that Sisyphus interests me. A face that toils so close to stones is already stone itself! I see that man going back down with a heavy yet measured step toward the torment of which he will never know the end. That hour like a breathing-space which returns as surely as his suffering, that is the hour of consciousness. At each of those moments when he leaves the heights and gradually sinks toward the lairs of the gods, he is superior to his fate. He is stronger than his rock.

If this myth is tragic, that is because its hero is conscious. Where would his torture be, indeed, if at every step the hope of succeeding upheld him? The workman of today works every day in his life at the same tasks, and this fate is no less absurd. But it is tragic only at the rare moments when it becomes conscious. Sisyphus, proletarian of the gods, powerless and rebellious, knows the whole extent of his wretched condition: it is what he thinks of during his descent. The lucidity that was to constitute his torture at the same time crowns his victory. There is no fate that cannot be surmounted by scorn.

Explanation:

6 0
2 years ago
#20
AleksAgata [21]

The correct answer is:

"Brutus explains that he loved Caesar, but loves Rome more. He had to kill Caesar because, although Caesar was a brave man and his friend, Caesar was too ambitious"

This is the best sentence to paraphrase the excerpt from "Julius Caesar", act 3, scene 2 because it stays true to the original meaning while using different words and structures to say it.

The first and last option are not correct because they both use passages from the original extract, and therefore are not paraphrases.

The second option is incorrect as well, because it omits details explained in the original excerpt.

4 0
2 years ago
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