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Tresset [83]
3 years ago
6

Bill Smith is a right-wing Christian. Can you trust him to be fair and balanced in office?

English
2 answers:
Elodia [21]3 years ago
6 0
I think the answer is A. argumentum ad hominem
Tanzania [10]3 years ago
6 0

Answer:

argumentum ad hominem

Explanation:

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Attempt 1 of 3
sp2606 [1]

Answer:

honor

Explanation:

You cannot say seek retribution because there is no "for" in the phrase

I think the right answer is honor because the young man is paying tribute to his brother

4 0
2 years ago
A writer makes fun of literary critics by "reviewing" an
Alex17521 [72]

Answer:

The correct answer is B. Parody.

Explanation:

A parody is a vulgar, exaggerated, or comic imitation of another work known to the public, through which the original work is ridiculed, even by small references to it. Broadly speaking, a parody is a sub-form of a satire: the story (the text or the image) is imitated in an ironic way. This can happen in a harmless as well as a corrosive way. The success of the parody will be greater the more famous the original and the parodied (magnified) elements are therefore more recognizable.

8 0
3 years ago
What’s the antecedent of the pronoun in the sentence. Please help me
Sophie [7]

Answer:

the fight

Explanation:

"The fight" is the main noun of the sentence and the pronoun "it" was used refer to the noun. Also, it's the last (and only) noun mentioned before the pronoun.

5 0
3 years ago
What is the main idea of The R*pe of the Lock? How does the structure of the poem affect the main idea?
Alex Ar [27]

the R*pe of the Lock is a humorous indictment of the vanities and idleness of 18th-century high society. Basing his poem on a real incident among families of his acquaintance, Pope intended his verses to cool hot tempers and to encourage his friends to laugh at their own folly.

The poem is perhaps the most outstanding example in the English language of the genre of mock-epic. The epic had long been considered one of the most serious of literary forms; it had been applied, in the classical period, to the lofty subject matter of love and war, and, more recently, by Milton, to the intricacies of the Christian faith. The strategy of Pope’s mock-epic is not to mock the form itself, but to mock his society in its very failure to rise to epic standards, exposing its pettiness by casting it against the grandeur of the traditional epic subjects and the bravery and fortitude of epic heroes: Pope’s mock-heroic treatment in The R*pe of the Lockunderscores the ridiculousness of a society  in which values have lost all proportion, and the trivial is handled with the gravity and solemnity that ought to be accorded to truly important issues. The society on display in this poem is one that fails to distinguish between things that matter and things that do not. The poem mocks the men it portrays by showing them as unworthy of a form that suited a more heroic culture. Thus the mock-epic resembles the epic in that its central concerns are serious and often moral, but the fact that the approach must now be satirical rather than earnest is symptomatic of how far the culture has fallen.

Pope’s use of the mock-epic genre is intricate and exhaustive. The R*pe of the Lock is a poem in which every element of the contemporary scene conjures up some image from epic tradition or the classical world view, and the pieces are wrought together with a cleverness and expertise that makes the poem surprising and delightful. Pope’s transformations are numerous, striking, and loaded with moral implications. The great battles of epic become bouts of gambling and flirtatious tiffs. The great, if capricious, Greek and Roman gods are converted into a relatively undifferentiated army of basically ineffectual sprites. Cosmetics, clothing, and jewelry substitute for armor and weapons, and the rituals of religious sacrifice are transplanted to the dressing room and the altar of love.

The verse form of The R*pe of the Lock is the heroic couplet; Pope still reigns as the uncontested master of the form. The heroic couplet consists of rhymed pairs of iambic pentameter lines (lines of ten syllables each, alternating stressed and unstressed syllables). Pope’s couplets do not fall into strict iambs, however, flowering instead with a rich rhythmic variation that keeps the highly regular meter from becoming heavy or tedious. Pope distributes his sentences, with their resolutely parallel grammar, across the lines and half-lines of the poem in a way that enhances the judicious quality of his ideas. Moreover, the inherent balance of the couplet form is strikingly well suited to a subject matter that draws on comparisons and contrasts: the form invites configurations in which two ideas or circumstances are balanced, measured, or compared against one another. It is thus perfect for the evaluative, moralizing premise of the poem, particularly in the hands of this brilliant poet

8 0
4 years ago
Read the excerpt from "The Tell-Tale Heart.”
Alinara [238K]

Answer:

The narrator says he is not mad, but he claims he can hear all the sounds on heaven and earth.

3 0
3 years ago
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