In Greek mythology, Midas is a king obsessed with wealth. He asks the gods for the ability to turn anything he touches to gold. The gods grant his wish, and Midas soon realizes this gift is actually a curse. Chesterton uses the story of Midas as an analogy for chasing materialistic success. Much as the authors worship material wealth and pursue it as if it were attainable, Midas learns that his new ability doesn’t help him succeed because it prevents him from performing necessary tasks such as eating. Chesterton reminds readers of the obvious moral of Midas's story and shows that authors who write about success often misinterpret Midas's story—sometimes by using phrases such as "the Midas touch" in a positive light.
Chesterton emphasizes that King Midas is an example of foolishness and failure. He implies that, for the same reason, writers who encourage people to chase material success share Midas's foolishness:
We all know of such men. We are ever meeting or reading about such persons who turn everything they touch into gold. Success dogs their very footsteps. Their life's pathway leads unerringly upwards. They cannot fail.
Unfortunately, however, Midas could fail; he did. His path did not lead unerringly upward. He starved because whenever he touched a biscuit or a ham sandwich it turned to gold. That was the whole point of the story . . .
Answer:
B. An important victory for the abolition movement.
Explanation:
I majored in History
Amistad mutiny (1839) slave rebellion that took place on the slave ship Amistad near the coast of Cuba and had important political and legal repercussions in the American abolition movement.
Answer: The difference is "its" and "it's" lol. The answer is B btw. Have a great day/night!
<span>Rhetorical describes it best because it focuses on the artistic elements that are needed to move an audience.</span>
First person- personal perspective (“I ate dinner”)
“I never saw anybody that looked stupider, a Violet said so suddenly that Alice quite jumped; for it hadn’t spoken before.” (Lewis Carroll, ‘Through the Looking Glass’)
Second person- directed perspective (“You ate dinner”)
“YOU are not the kind of guy who would be at a place like this at this time of the morning, But here your are, and you cannot say that the terrain is entirely unfamiliar, although the details are fuzzy. (Jay Mclnerney, ‘Bright Lights, Big City’)
Third person- outside perspective (“Jenna ate dinner”)
“There were six young colts in the meadow besides me; THEY were older than I was some were nearly as large as grown-up horses. (Anna Sewell, ‘Black Beauty’)
