Answer:The poets of the next generation shared their predecessors’ passion for liberty (now set in a new perspective by the Napoleonic Wars) and were in a position to learn from their experiments. Percy Bysshe Shelley in particular was deeply interested in politics, coming early under the spell of the anarchist views of William Godwin, whose Enquiry Concerning Political Justice had appeared in 1793. Shelley’s revolutionary ardour caused him to claim in his critical essay “A Defence of Poetry” (1821, published 1840) that “the most unfailing herald, companion, and follower of the awakening of a great people to work a beneficial change in opinion or institution, is poetry,” and that poets are “the unacknowledged legislators of the world.” This fervour burns throughout the early Queen Mab (1813), the long Laon and Cythna (retitled The Revolt of Islam, 1818), and the lyrical drama Prometheus Unbound (1820). Shelley saw himself at once as poet and prophet, as the fine “Ode to the West
Explanation:
Answer: I would contend that the right answer is the C) It suggests the narrator traveled without thinking of the time.
Explanation: Just to elaborate a little on the answer, it can be added that in these introductory lines from "The Fall of the House of Usher," which Poe first published in 1839, it is possible to infer that the narrator had been traveling for a while ("during a whole day") and, suddenly, he found himself near his destination, his friend's house. There are no indications of him being lost or angry, so options B and D can be discarded. In addition, the syntax does not suggest a magical component, since he uses adjectives such as "dull," "soundless," and "dreary" to describe his journey and what he encountered along it, and those words do not suggest a magical setting.
Answer:
Alice Paul learned how to use this aggressive approach in England and brought it to the United States.
Explanation:
I hope this helps
Answer:
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