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Virty [35]
3 years ago
8

Which sentence in this excerpt from Stephen Crane's "The Open Boat" is a metaphor that reflects the naturalistic theme that huma

n life is insignificant before the workings of fate?
"The boat was headed for the beach. The correspondent wondered if none ever ascended the tall wind tower, and if then they never looked seaward. This tower was a giant, standing with its back to the plight of the ants.It represented in a degree, to the correspondent, the serenity of nature amid the struggles of the individual.The coldness of the water was sad; it was tragic. This fact was somehow so mixed and confused with his opinion of his own situation that it seemed almost a proper reason for tears. The water was cold."
English
2 answers:
sukhopar [10]3 years ago
6 0

Answer:This tower was a giant, standing with its back to the plight of the ants

Explanation:

Dmitrij [34]3 years ago
4 0
I believe that the sentence from this excerpt that shows such a metaphor is the following one - <u>This tower was a giant, standing with its back to the plight of the ants.</u>
We are the ants - we are completely insignificant before nature, and before fate itself, as, according to the naturalists, we cannot influence our own lives, but rather just wait to see what happens. We cannot change our fate - what's been decided for us is going to happen and there is nothing we can do about it.
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4 0
3 years ago
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How does the stranger's interaction with Elisa at her garden differ from Henry's interaction with her at her garden?
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The stranger is more aggressive and actually enters Elisa's garden, while Henry seems to respect her personal space.

The two men in the story are quite opposite, and this helps us identify the things that Elisa appreciates and the things she does not. When Elisa is working in the garden, her husband comes to talk to her. He respects her personal space and remains outside. However, to Elisa this is a sign of indifference towards her work and her passion. On the other hand, when the stranger meets her, he leans over and enters the garden, with a behaviour that is more aggressive than that of her husband.

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3 years ago
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In ACT I of ROMEO &amp; JULIET, what angers Tybalt at Lord Capulet's party?
dlinn [17]

Answer: D. Lord Capulet tells Tybalt he needs to leave the party.

Explanation:

<em><u>TYBALT</u></em>

<em>I’ll strike him dead, and hold it not a sin.</em>

<em><u>CAPULET</u></em>

<em>Why, how now, kinsman? Wherefore storm you so?</em>

<u><em>TYBALT</em></u>

<em>Uncle, this is a Montague, our foe.</em>

<em>A villain that is hither come in spite,</em>

<em>To scorn at our ceremony this night.</em>

<u><em>CAPULET</em></u>

<em>Young Romeo, is it?</em>

<u><em>TYBALT</em></u>

<em>‘Tis he, that villain Romeo.</em>

<u><em>CAPULET</em></u>

<em>Content thee, gentle cousin. Let him alone.</em>

<em>He bears himself like a real gentleman.</em>

<em>And, to say truth, Verona brags of him</em>

<em>To be a virtuous and well-governed youth.</em>

<em>I would not, for the wealth of all this town,</em>

<em>Here in my house do him disparagement.</em>

<em>Therefore be patient, take no note of him.</em>

<em>It is my will, so if this thou respect,</em>

<em>Show a fair presence, and give up those frowns</em>

<em>Which are ill-beseeming semblance for a feast.</em>

<u><em>TYBALT</em></u>

<em>It fits, when such a villain is a guest.</em>

<em>I’ll not endure him.</em>

<em />

<u><em>CAPULET</em></u>

<em>He shall be endured.</em>

<em>What, lordful boy! I say he shall. Go to.</em>

<em>Am I the master here or you? Go to.</em>

<em>You’ll not endure him. God shall mend my soul!</em>

<em>You’ll make a mutiny among my guests:</em>

<em>You will set chaos here. You’ll be the cause!</em>

<u><em>TYBALT</em></u>

<em>But Uncle, he shames us.</em>

<u><em>CAPULET</em></u>

<em>Go to, go to.</em>

<em>You are a saucy boy. Is’t so, indeed?</em>

<em>This trick may chance to scathe you, I know what.</em>

<em>Must you contradict me? Marry, ‘tis time–</em>

<em>[To GUESTS] Well said, my hearts — [To TYBALT] You are a young fool. Go.</em>

<em>Be quiet, or — [To SERVANTS] More light, more light! — [To TYBALT] For shame,</em>

<em>I’ll make you quiet. — [To GUESTS] What, cheerly my hearts!</em>

<em />

<u><em>TYBALT</em></u>

<em>Patience forced, with willful choler meeting,</em>

<em>Makes my flesh tremble in their different greeting.</em>

<em>I will withdraw, but this intrusion shall,</em>

<em>Now seeming sweet, convert to bitterest gall.</em>

<em />

<em>Exit TYBALT</em>

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In the first text, Zimbardo argues that people are neither "good" or "bad." Zimbardo's main claim is that the line between good and evil is movable, and that anyone can cross over under the right circumstances. He tells us that:

"That line between good and evil is permeable. Any of us can move across it....I argue that we all have the capacity for love and evil--to be Mother Theresa, to be Hitler or Saddam Hussein. It's the situation that brings that out."

Zimbardo argues that people can move across this line due to phenomena such as deindividualization, anonymity of place, dehumanization, role-playing and social modeling, moral disengagement and group conformity.

On the other hand, Nietzsche in "Morality as Anti-Nature" also argues that all men are capable of good and evil, and that evil is therefore a "natural" part of people. However, his opinion is different from Zimbardo in the sense that Nietzsche believes that judging people as "good" and "bad" is pointless because morality is anti-natural, and we have no good reason to believe that our behaviour should be modified to fit these precepts.

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