Answer and explanation:
In her poem "An Hymn to the Evening", author Phillis Wheatley uses the sunset and arrival of spring to "sing" to God - a hymn is a song or a poem dedicated to God. The speaker describes how the exploding beauty of the sunset fills her heart with gratitude. As the night comes, she is thankful to have lived another day, and also thankful for the rest she will have. She will wake up "refined", having spent the night in restful sleep, protected by God.
To convey such beautiful message, Wheatley uses figurative language. We can find metaphor and personification in the poem. A metaphor is a comparison between two different things. This figurative device does not use words such as "like" or "as", it simply states that thing A is thing B. When the speaker compares our bodies to God's temples, she is employing a metaphor:
So may our breasts with ev'ry virtue glow,
The living temples of our God below!
Personification is a figure of speech in which human characteristics or abilities are attributed to objects or animals. It makes them seem wiser, as if they did something on purpose. In this poem, nature's purpose is most likely to glorify God:
Soon as the sun forsook the eastern main
The pealing thunder shook the heav'nly plain;
[...]
Soft purl the streams, the birds renew their notes,
[...]
Night's leaden sceptre seals my drowsy eyes,
The sun, the stream, the night are not living beings. Literally speaking, they cannot forsake, purl, or carry a sceptre - the sceptre itself is figurative. Personification is thus employed to give them qualities that make them sound capable of intent and reasoning.
Sorry buddy, idk. Probably they became friends
Can I have Branliest for the Correct Answer?
Very often things like flashbacks, flash forwards, non-linear narratives, multiple plots and ensemble casts are regarded as optional gimmicks stuck into the conventional three act structure. They're not. Each of the six types I've isolated and their subcategories provides a different take on the same story material. Suddenly, one idea for a film can give you a multitude of story choices. What do I mean?
More than six ways to turn your idea into a film. Let's imagine that you've read a newspaper article about soldiers contracting a respiratory disease from handling a certain kind of weaponry. You want to write a film about it. Conventional wisdom says create one storyline with one protagonist (a soldier who gets the disease) and follow that protagonist through a three act linear journey. There's no question that you could make a fine film out of that. But there are several other ways to make a story out of the idea, and several different messages that you could transmit - by using one of the parallel narrative forms.
<span>Would you like to create a script about a group of soldiers from the same unit who contract the disease together during one incident, with their relationships disintegrating or improving as they get sicker, dealing with the group dynamic and unfinished emotional business? That would be a shared team 'adventure', which is a kind of group story, so you would be using what I call </span>Multiple Protagonist<span> form (the form seen in films like Saving Private Ryan or The Full Monty or Little Miss Sunshine, where a group goes on a quest together and we follow the group's adventure, the adventure of each soldier, and the emotional interaction of each soldier with the others). </span>
Alternatively, would you prefer your soldiers not to know each other, instead, to be in different units, or even different parts of the world, with the action following each soldier into a separate story that shows a different version of the same theme, with all of the stories running in parallel in the same time frame and making a socio-political comment about war and cannon fodder? If so, you need what I call tandem narrative,<span> the form of films like Nashville or Traffic. </span>
Alternatively, if you want to tell a series of stories (each about a different soldier) consecutively, one after the other, linking the stories by plot or theme (or both) at the end, you'll need what, in my book Screenwriting Updated I called 'Sequential Narrative', but now, to avoid confusion with an approach to conventional three act structure script of the same name, I term Consecutive Stories<span> form, either in its fractured state (as in Pulp Fiction or Atonement), or in linear form (as in The Circle). </span>
(Im sure I haven’t found them all but here are the ones I spotted)
1- Extinction
2- wild
3- remove the comma (by the turn of the century)
4- destroying their habitats
5- valued
6- skins
7- Though, trading tiger skins (comma)
8- (in my opinion this could be reworded) Although
9- (capitalize) Traditional
———————
1- queen
2- structures
3- (comma) across the ages, castles...
4- (commas) changed, developed, and eventually.....
5- retreat
6- offensive
7- (remove commas) summoned to organize around and deployed
(I’m sure I didn’t some of them correct )
