Answer:
And Old Major represents Karl Marx. Stalin (Napoleon) and Trotsky (Snowball) played significant roles in the Russian revolution. ... So, Old Major represents this influence on Napoleon, Snowball and the other animals and Old Major represents the founder of the philosophy upon which the animal revolution was based.
Explanation:
If you had shared the options It would have been much easier for me to answer in suitable form for you. But actually I have got the answer and do hope it could help you. I am more than sure that the repetition of "nevermore" creates a unity of effect on longing. The only word that Rave knows and uses all the time to respond is "nevermore" so that it gives a circular sense to the poem.
Answer:
What are we supposed to say to this? I mean, if ur teying to correct it, then, the right way to say it is
We've got fifteen kinds of Kale for sale today!a
Each stanza develops the speaker's thoughts on death and beauty, moving from an acknowledgment that life is temporary to her plea that beauty save the moment by wounding her.
- Sara Teasdale's "Blue Squills" begins conventionally enough. The speaker describes the white flowers that cover the cherry tree in the first two stanzas and refers to blue squills, which are also flowers, in the third.
- She claims that there were millions of Aprils before she was born and had the opportunity to appreciate their beauty, and that there will be many more after she is gone.
- This was a sentiment that had been expressed many times before and would be expressed many times after her death.
Thus the correct answer is Option B.
To learn more about Sara Teasdale, refer: brainly.com/question/28035688
#SPJ9
The complete question is mentioned below:
Which answer BEST describes the way the stanza structure of "Blue Squills" reflects and reinforces its meaning?
a. Each stanza describes a different aspect of April, moving from the whiteness of the cherry bough and the blue of the flower (stanza 1) to their flames (stanza 2) to the pain that Spring causes her (stanzas 3 and
b. Each stanza develops the speaker's thoughts on death and beauty, moving from an acknowledgment that life is temporary (stanzas 1 and 2) to her plea that beauty save the moment by wounding her (stanzas 3 and 4).
c. Each stanza develops the speaker's thoughts on death and beauty, moving from her thoughts about the past (stanza 1) to her thoughts about the future (stanza 2) to her preoccupations in the present (stanzas 3 and 4).
d. Each stanza describes a different aspect of the tree and the flower, moving from the whiteness of the cherry bough (stanza 1) to the blue flame of the flower (stanza 2) to the shaking and shimmering of both (stanzas 3 and 4).
