<span>The four steps to using word structure strategy when trying to determine the meaning of an unfamiliar word are:
1. Use context clues and word signals
Sometimes, the given of that unfamiliar word is through the meaning of the sentence. there are also times that the word may have a similar meaning (synonym) or different in meaning (antonym).
2. Use word parts
Word part such as the root word. Sometimes the root word are preceded by a prefix, followed by a suffix or inside such as infix.
3. If you are already familiar of the word, then you may use it in a sentence if it fits or not.
4. Use dictionary if all else fails
Sometimes, you just can't get the word right because all of the clues are hard to decipher.</span>
The following element that is an essential aspect of realist literature is that the text should be a depiction of everyday life and the struggles around it.
Answer:
“And the girl-daughter picked him up on the palm of her little brown hand, and sat him in the bottom of the canoe and gave him her scissors, and he waved them in his little arms, and opened them and shut them and snapped them, and said, ‘I can eat nuts.’”
Explanation:
Kipling's story titled 'The Crab that played with the Sea' primarily discusses the story of a crab and how it is changed from a huge animal to a tiny being through the flow of tides and ebb.
The above statement most clearly reflects the author's key reason for writing. The descriptions like 'picked him up on the palm of her little brown hand', 'waved them in his little arms', etc. reflect that the author aims to inform the readers about the consequences faced by Pau Amma(the monster crab) for causing problems in the sea. It also informs the readers that why crab was converted into a tiny creature from a huge animal. Thus, <u>option C</u> is the correct answer.
I am quite sure that she revealed her belief through her words. During the little dialogue scene where she runs on with what appears to be a conversation between her and Mrs Cobb, her words seem to give off a sense of discomfort.
I may be wrong here, but hopefully, you can see why I'm leaning towards this possibility! =)
<span>“How horrible it would be . . . if she were condemned to be the plain, shy Millicent of a few years back.” - Direct characterization. The speaker explicitly says that Milicent now isn't plain and shy, and that would be a condemnation to her.
</span><span>“Betsy Johnson, the vivacious blonde secretary of the sorority” - Direct characterization. We can see Betsy and we get some information about her character (vivacious).
</span><span>“Walking beside Louise on the way to the drugstore, Millicent felt a surge of pride.” - Indirect characterization. The speaker doesn't say that Milicent is this or that kind of person. He/she just puts her in a context, commenting on her current feelings and thus allowing the reader to make a vague conclusion about her character.
</span><span>“Bev was suddenly there in the doorway. ‘Wipe that smile off your face,’ she commanded.” - Indirect characterization. Again, the speaker here describes this character's action, rather than features and character traits.</span>
