The word croissant is an example of borrowed word.
<u>Explanation:</u>
Croissant is a borrowed word. The word croissant originated from "crescent." It is a Pronunciation of a buttery, flaky, viennoiserie pastry of Austrian and French origin, named for its historical crescent shape.
herefore, because of the shape of the croissant word was most likely acquired from a crescent. With the goal that's the means by which they named the word croissant for instance of the borrowed word.
In the book After the First Death it’s taking something scary and life threatening and placing it in a situation with something innocent like children and school. Kate takes the roll of being the saviour and leader for the children. they look for guidance in her and with their innocence see it as something being savable and simple
Your answer would be would be B I just took the quiz and got it correct.
Hopes this helps please "Mark me as Brainliest."
Answer:
D) Websites with unverified authenticity
Explanation:
Explanation:
Your question is not complete. View the question below for the complete one.
According to the essay, which of these is not a problem specified by the author? (Write the letter of the correct answer) a. children can access potentially dangerous sites b. news and company websites are invaded c. online fraud d. websites with unverified authenticity.
The correct option is option D.
This is because the author did not mention the problem of websites with unverified authenticity. But he mentioned the other problems like children accessing potentially dangerous sites, news and company websites being invaded and online fraud.
Answer:
Donne uses the extended metaphor of a ‘city’ not only in ‘Holy Sonnet XIV’ but also in ‘Loves War’. In this Elegy which was written in Donne’s youth, he describes a ‘free City’ which ‘thyself allow to anyone’ – a metaphor for how anyone can enter a woman [ii] – and goes onto say how in there he would like to ‘batter, bleeds and dye’. Here, Donne is controlling the ‘city’ and taking over it himself, however, if Donne intended to use this same metaphor in ‘Holy Sonnet XIV’, the roles have changed and it now signifies how it is Donne who needs to be seized by God’s spirit. Furthermore, this represents how Donne’s life and therefore attitude has changed between writing these poems; he used to feel in control but now he is controlled.
The physical verbs that are used immediately sets the violent theme of the octave. The spondaic feet emphasizes Donne’s cry for God to ‘break, blow’ and ‘burn’ his heart so he can become ‘imprisoned’ in God’s power, creating a paradoxical image of a benevolent God acting in a brutal way. He uses a metaphysical conceit to explain how he is ‘like an usurp’d town’ with God’s viceroy (reason) in him. This imagery of warfare that pervades the sonnet symbolises his soul at war with himself; only if God physically ‘overthrow’s’ Donne and ‘batters’ his sinful heart will he be able to ‘divorce’ the devil. It was around the time of writing this poem that Donne renounced his Catholic upbringing which gives evidence to the assumption that the sin he was struggling with began to overpower his Christian beliefs and needed God become as real to him as God was to his respected Catholic parents. Furthermore, in ‘Holy Sonnet XVII’ Donne exclaims how ‘though [he] have found [God], and thou [his] thirst hast fed, a holy thirsty dropsy melts [him] yet. This reveals that Donne feels that even though he has found God, his yearning is not satisfied which gives evidence towards the assumption that he is crying out for spiritual ecstasy. This paradox between freedom and captivity was most frequently written about by most prison poets such as Richard Lovelace [iii] Donne wrote, ‘Except you enthrall me, never shall be free’ which implies the same idea as Loveless in ‘To Althea, From Prison’ that true freedom is internal, not external, symbolising his struggle with sin whilst he is physically free.
