Answer:
She should remind him of the rules for discussion and ask him to provide supporting information.
Hey there!
1) A She mixed flour, while sniffing flower
2) C Time flies like an arrow; Fruit flies like a banana
3) B A horse is a very stable animal
<span>1) In 'Inferno' as well as in the rest of 'Divine Comedy', Dante included a lot of elements from Bible and 'The Aeneid' by Vergil. Due to the lots of biblical elements this story can be defined as Biblical fiction and the depiction and meaning of Hell is a direct proof of this fact. Dante made a crossover of biblical and Vergilic elements describing his own personality in both allusional sacred way. </span>
2) Dante included such allusions because he wanted to represent the perception of human evil in its categorization into different realms. He categorized sins and described them gradually by their level of complexity showing that people tend to measure everything even sins that can lead them to the journey to the Hell.
An Open Boat by Alfred Noyes See - quick - by that flash, where the bitter foam tosses,
The cloud of white faces, in the black open boat,
The literary device used in these lines is personification to give the foam a human quality.
Through the characterization of sea as humanistic, animalistic and deistic, Crane profoundly believes that the sea is indifferent to human’s plight. Narrator describes the development of sea as earlier it “snarls, hisses, and bucks like a bronco” and later it purely “paces to and fro,”. This depicts that the sea can be both hurtful and helpful, sea doesn’t change its motivation in the light of men’s struggle nor it can be understood.
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.
