The answer would be decision; verdict means the decision of a case
D. You're going to need another blanket when you go camping.
Answer:
1: The first sentence lists specific conditions followed by what might eventually happen.
3: The second sentence starts with the expression “for this reason.”
4: The second sentence lists potential consequences of the situation described.
Explanation:
"The Prince" (1532) is a political treatise by Niccolo Machiavelli (1469-1527) who was an Italian diplomat, politician, historian, and political philosopher.
The Chapter 5 of the book is "Conquered Free States, with their own laws and orders"
Option 1 might or might not be a cause-and-effect structure. It might not necessarily be cause-and-effect structure. Two events happening one after and other does not show that the first one is the cause and the second one effect. But, it is also true that in cause-and-effect structure one event (result) happens followed by another event.
Option 3 is correct because it clearly shows a cause-and-effect structure <u>(for this reason).</u>
Option 4 is correct because the events stated in the second sentence are the consequences (effect/result) of the situations described in the first sentence.
Option 2 is not cause-and-effect structure. "On the one hand" and "on the other hand" is used to describe two parallel and contrasting ideas. Hence, it is a contrasting structure.
Option 5 is not a cause-and-effect structure because the phrase <em>"citizen of the conquered city"</em> in no way shows the cause and effect of any situation
Literature and the Holocaust have a complicated relationship. This isn't to say, of course, that the pairing isn't a fruitful one—the Holocaust has influenced, if not defined, nearly every Jewish writer since, from Saul Bellow to Jonathan Safran Foer, and many non-Jews besides, like W.G. Sebald and Jorge Semprun. Still, literature qua art—innately concerned with representation and appropriation—seemingly stands opposed to the immutability of the Holocaust and our oversized obligations to its memory. Good literature makes artistic demands, flexes and contorts narratives, resists limpid morality, compromises reality's details. Regarding the Holocaust, this seems unconscionable, even blasphemous. The horrors of Auschwitz and Buchenwald need no artistic amplification.
