Answer:
Explanation:
When New York State recently marked the 100th anniversary of its passage of women’s right to vote, I ought to have joined the celebrations enthusiastically. Not only have I spent 20 years teaching women’s history, but last year’s Women’s March in Washington, D.C. was one of the most energizing experiences of my life. Like thousands of others inspired by the experience, I jumped into electoral politics, and with the help of many new friends, I took the oath of office as a Dutchess County, New York legislator at the start of 2018.
So why do women’s suffrage anniversaries make me yawn? Because suffrage—which still dominates our historical narrative of American women’s rights—captures such a small part of what women need to celebrate and work for. And it isn’t just commemorative events. Textbooks and popular histories alike frequently describe a “battle for the ballot” that allegedly began with the famous 1848 convention at Seneca Falls and ended in 1920 with adoption of the 19th Amendment to the U.S. Constitution. For the long era in between, authors have treated “women’s rights” and “suffrage” as nearly synonymous terms. For a historian, women’s suffrage is the equivalent of the Eagles’ “Hotel California”: a song you loved the first few times you first heard it, until you realized it was hopelessly overplayed.
A closer look at Seneca Falls shows how little attention the participants actually focused on suffrage. Only one of their 11 resolutions referred to “the sacred right to the elective franchise.” The Declaration of Sentiments, written by Elizabeth Cady Stanton and modeled on the U.S. Declaration of Independence, protested women’s lack of access to higher education, the professions and “nearly all the profitable employments,” observing that most women who worked for wages received “but scanty remuneration.
Answer:
<u>Death </u><u>is </u><u>one </u><u>sure </u><u>event </u><u>of </u><u>the </u><u>unknown able</u><u> </u><u>future </u>
Explanation:
It means that 'Death' is an event that might come in the future . it's an event that will surely come in everyone's life . Just like the future is unknown , this event is also unknown .
the excerpt is "They died—nor were those flowers more gay, the flowers that did in Eden bloom"
ans are:
The flower is doomed, just like the Garden of Eden.
Paradise is all around us if we just take the time to notice it.
Answer and Explanation:
Character: Iago
>Possibly the most heinous villain in Shakespeare, Iago is fascinating for his most terrible characteristic: his utter lack of convincing motivation for his actions. In the first scene, he claims to be angry at Othello for having passed him over for the position of lieutenant. At the end of Act 1 Sc3, Iago says he thinks Othello may have slept with his wife, Emilia: "It is thought abroad that 'twixt my sheets He has done my office". Iago mentions this suspicion again at the end of Act 2 Sc1, explaining that he lusts after Desdemona because he wants to get even with Othello "wife for wife" None of these claims seems to adequately explain Iago's deep hatred of Othello, and Iago's lack of motivation—or his inability or unwillingness to express his true motivation—makes his actions all the more terrifying. He is willing to take revenge on anyone—Othello, Desdemona, Cassio, Roderigo, even Emilia—at the slightest provocation and enjoys the pain and damage he causes.
>Iago is often funny, especially in his scenes with the foolish Roderigo, which serve as a showcase of Iago's manipulative -abilities and prevalent machiavellian traits. He seems almost to wink at the audience as he revels in his own skill. As entertained spectators, we find ourselves on Iago's side when he is with Roderigo, but the interactions between the two also reveal a streak of cowardice in Iago—a cowardice that becomes manifest in the final scene, when Iago kills his own wife.
>Iago's murder of Emilia could also stem from the general hatred of women that he displays. Some readers have suggested that Iago's true, underlying motive for persecuting Othello is his homosexual love for the general. He certainly seems to take great pleasure in preventing Othello from enjoying marital happiness, and he expresses his love for Othello frequently and effusively.
It is Iago's talent for understanding and manipulating the desires of those around him that makes him both a powerful and a compelling figure. Iago is able to take the handkerchief from Emilia and know that he can deflect her questions; he is able to tell Othello of the handkerchief and know that Othello will not doubt him; he is able to tell the audience, "And what's he then that says I play the villain," and know that it will laugh as though he were a clown. Though the most inveterate liar, Iago inspires all of the play's characters the trait that is most lethal to Othello: trust.
