The Full question reads;
Which piece of evidence best reveals how Elijah’s words contribute to Joe’s death?
A. “Looka theah, folkses!” cried Elijah Mosley, slapping his leg gleefully. “Theah they go, big as life an’ brassy as tacks.” (Paragraph 2)
B. “He rides that log down at the saw-mill jus’ like he struts ‘round wid another man’s wife — jus’ don’t give a kitty.” (Paragraph 5)
C. “Talkin’ like a man, Joe. Course that’s yo’ fambly affairs, but Ah like to see grit in anybody.” (Paragraph 16)
D. “Aw, Ah doan’t know. You never kin tell. He might turn him up an’ spank him furgettin’ in the way, but Spunk wouldn’t shoot no unarmed man.” (Paragraph 22)
Answer:
<u>D. “Aw, Ah doan’t know. You never kin tell. He might turn him up an’ spank him furgettin’ in the way, but Spunk wouldn’t shoot no unarmed man.” (Paragraph 22)</u>
<u>Explanation:</u>
In the short story entitled "SPUNK" by Ora Neale HURSTON which focuses mainly on three characters, namely Joe, Joe's wife, and Spunk. A beef is created when Spunk had an affair with Joe's wife, feeling bad Joe tries to confront's Spunk in which Elijah’s words led to his death.
We can infer the following :
- Those men who gave their lives,did not die in vain""that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion-that we here highly resolve that these dead shall not have died in vain (lines 18-21)""
- This war is betraying the ideals of the nation-he is saying that this war needs to come to a close.""lines 1 to 6: our fathers brought forth on this continent, a new nation,conceived in liberty and dedicated to the..."""
Can I have Branliest for the Correct Answer?
Very often things like flashbacks, flash forwards, non-linear narratives, multiple plots and ensemble casts are regarded as optional gimmicks stuck into the conventional three act structure. They're not. Each of the six types I've isolated and their subcategories provides a different take on the same story material. Suddenly, one idea for a film can give you a multitude of story choices. What do I mean?
More than six ways to turn your idea into a film. Let's imagine that you've read a newspaper article about soldiers contracting a respiratory disease from handling a certain kind of weaponry. You want to write a film about it. Conventional wisdom says create one storyline with one protagonist (a soldier who gets the disease) and follow that protagonist through a three act linear journey. There's no question that you could make a fine film out of that. But there are several other ways to make a story out of the idea, and several different messages that you could transmit - by using one of the parallel narrative forms.
<span>Would you like to create a script about a group of soldiers from the same unit who contract the disease together during one incident, with their relationships disintegrating or improving as they get sicker, dealing with the group dynamic and unfinished emotional business? That would be a shared team 'adventure', which is a kind of group story, so you would be using what I call </span>Multiple Protagonist<span> form (the form seen in films like Saving Private Ryan or The Full Monty or Little Miss Sunshine, where a group goes on a quest together and we follow the group's adventure, the adventure of each soldier, and the emotional interaction of each soldier with the others). </span>
Alternatively, would you prefer your soldiers not to know each other, instead, to be in different units, or even different parts of the world, with the action following each soldier into a separate story that shows a different version of the same theme, with all of the stories running in parallel in the same time frame and making a socio-political comment about war and cannon fodder? If so, you need what I call tandem narrative,<span> the form of films like Nashville or Traffic. </span>
Alternatively, if you want to tell a series of stories (each about a different soldier) consecutively, one after the other, linking the stories by plot or theme (or both) at the end, you'll need what, in my book Screenwriting Updated I called 'Sequential Narrative', but now, to avoid confusion with an approach to conventional three act structure script of the same name, I term Consecutive Stories<span> form, either in its fractured state (as in Pulp Fiction or Atonement), or in linear form (as in The Circle). </span>
Answer:it should be especially memorable
Explanation: if its the last paragraph, it needs to hold all the summarized information and thus be remembered
