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.
Well I can’t see the answer to choose from problem is D
<span>The answer is most likely the initial passage, "my thoughts do twine and bud About thee, as wild vines, about a tree." This is a simile comparing her thoughts constantly
thinking about another person and all the possibilities of being with this person to a vine wrapping itself endlessly around a tree.</span>
The moral is don’t let things stop you from hanging out with your friends or doing what you want to do. Or it could also be don’t be a party pooper.
The tone of Emily’s speeches in Act III are generally regretful, sad, and sometimes urgent, while Simon Stinson’s tone is rather bitter. In her speech she describes her regret not being in her grave, representing the idea of <span>ignorance and blindness of the people's world. Simon Stinson expresses annoying reaction, but he approves her words and sharply replies that now she understands how cruel and unfair is the world.</span>
