Alfred Doolittle is a smooth-talking garbage man, a serial monogamist (although he's not always really<span> married), a drunk, and a deadbeat dad. He's got a lot to say about "middle class morality" and complicated theories about the deserving and undeserving poor. He has principles, too, but they're not exactly conventional: he has no trouble milking five pounds from Higgins, but he doesn't want anymore than that. He wants just enough money to have a few drinks and some fun.</span>
In order to understand Doolittle, you have to understand how he speaks. This exchange is notable:
<span>DOOLITTLE ["most musical, most melancholy"] I'll tell you, Governor, if you'll only let me get a word in. I'm willing to tell you. I'm wanting to tell you. I'm waiting to tell you.
HIGGINS. Pickering: this chap has a certain natural gift of rhetoric. Observe the rhythm of his native woodnotes wild. "I'm willing to tell you: I'm wanting to tell you: I'm waiting to tell you." Sentimental rhetoric! That's the Welsh strain in him. It also accounts for his mendacity and dishonesty.</span><span> (2.232-3)</span>
He is the sum of his mysterious speaking ability. You can describe what Doolittle's saying with all sorts of fancy Greek words, but it's enough to note how he repeats those three phrases that Higgins singles out, and how his speech is sort of singsong-y. Whether or not we believe what Doolittle's talking about doesn't matter, it sounds nice. These skills get Doolittle into trouble when Higgins nominates him for some such speaking position…and he gets it, along with a generous income. He can't handle all the money; he doesn't want to be "touched" – asked to spare some change – in the same way he touched Higgins.
<span>Doolittle demonstrates how powerful and potentially dangerous words can be. Lucky for us, his intentions are (mostly) honorable. He's the character most prone to lecturing – yes, even more so than Higgins – and though his theories may not be entirely logical, his little sermons do raise some issues regarding class relations. Think of him this way: he's a stereotype of a drunken poor guy…with an oratorical twist.</span>
Answer:
1. Those are our books.
2. This is what Seema gave me on my birthday
3. Those are your pens,
4.Is this how you should behave?
5. I don't trust a word you say, they
are mere excuses.
6, Both the houses are good but that one is better than this.
7. That is what the final picture will look like.
8. That place is far off from here.
The counterargument that should be addressed would be a statement that shows how the argument that has already been cited is incorrect.
<h3>What is a counter-argument?</h3>
- It is an argument that fights another argument.
- It is an argument that shows that the argument presented above is incorrect.
- It is an argument that presents a thought contrary to what is being defended.
A counterargument is made to debate, question, and show errors in another argument. For this, the counter-argument needs to present evidence, data, and concrete information about what you are questioning.
You didn't show the text this question refers to, which prevents me from being able to provide an exact answer, but I hope the information above can help you find it.
More information on what a counterargument is at the link:
brainly.com/question/204671
The answer would be C<span>. Music often takes away from a film’s believability and realism. Often time music is added to make the film believable and realistic, such as the creaking of a door or stairs without showing the actual scene. It also adds to the tone that the story is portraying.</span>
