Answer: The right answers are:
Excerpt 1: "But the man I marry must love his country first of all, and be able to say to me [...]."
Excerpt 2: "There is no honor above America with me. In this great hour there is no other honor."
Explanation: Just to elaborate a little on the answer, it can be added that, in these lines, the character of Editha is clearly expressing and idealizing her patriotism. She is writing a letter to her boyfriend, George, who, in order to win her love, must become a hero and fight for his country in the war. In these parts of the letter she is strongly putting forth her adamant conviction in, and fervent devotion to, her country.
I think it is the second one: " <span>All those doctors of law or medicine or theology, all those lovers of art and poetry, of Bach and Goethe, who coldly, deliberately ordered the massacres and participated in them. What did their metamorphosis signify? Could anything explain their loss of ethical, cultural and religious memory?"
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Answer:
B. Empire State Building
Explanation:
In English language, a noun can be defined as a word used to refer to a person, place, animal, idea, feeling or thing. Therefore, a noun is considered to be a naming word.
There are four (4) major types of nouns and these includes;
I. Abstract nouns.
II. Collective nouns.
III. Common nouns.
IV. Proper nouns.
A proper noun can be defined as a specific name used to refer only to a particular thing, place, or person such as America, Europe, London, Joseph, Earth, Microsoft, Empire State Building, O2 Arena, etc.
As a rule of thumb, all proper nouns must begin with a capital letter irrespective of where they are placed in a sentence. Therefore, when you use a proper noun, you should ensure you start it with a capital letter.
In all honesty, I am really not a fan of heights, so the Empire State Building is not a big thrill for me.
Answer: transcendentalist
Explanation:
I did the test :)
Many people in Twelfth Night assume a disguise of one kind or another. The most obvious example is Viola, who puts on the clothing of a man and makes everyone believe that she is a male. This disguise causes great sexual confusion, as a bizarre love triangle results in which Viola is in love with Orsino, who loves Olivia—who loves Cesario, the male identity that Viola assumes. Thus, by dressing his protagonist in male garments, Shakespeare shows how malleable and self-delusional human romantic attraction can be.
Another character in disguise is Malvolio, who dresses oddly (in crossed garters and yellow stockings) in the hope of winning Olivia. In his case, the change of clothing suggests his belief that altering his wardrobe can lead to an alteration of his social status. When he dreams of being Olivia’s husband, he imagines himself above all in a different set of clothes, suggesting that class and clothing are inextricably linked. Later, after Malvolio has been declared mad and has been confined to a dark room, Feste, pretending to be the fictional priest Sir Topas in order to deceive Malvolio, puts on a disguise—even though Malvolio will not be able to see him since the room is so dark. This scene is particularly suggestive: Feste’s desire to wear a disguise even though his victim won’t see it implies that the link between clothes and reality goes deeper than mere appearances. For Feste, at least, the disguise makes the man—in order to be Sir Topas, he must look like Sir Topas. Ultimately, then, Shakespeare raises questions about human identity and whether such classifications as gender and class status are fixed entities or can be changed with a simple shift of wardrobe.
