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s2008m [1.1K]
3 years ago
11

Give this message to whoever answers the phone. Noun Clause:

English
2 answers:
Sati [7]3 years ago
6 0
So a noun clause is a dependent clause that acts as a noun. Noun clauses begin with words such as how, that, what, whatever, when, where, whether, which, whichever, who, whoever, whom, whomever, and why. Noun clauses can act as subjects, direct objects, indirect objects, predicate nominatives, or objects of a preposition.
Reil [10]3 years ago
3 0
A noun clause is a dependent clause that acts as a noun. Noun clauses begin with words such as how, that, what, whatever, when, where, whether, which, whichever, who, whoever, whom, whomever, and why. Noun clauses can act as subjects, direct objects, indirect objects, predicate nominatives, or objects of a preposition.
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What was Frederick Douglas viewpoint in "what to slave is the fourth of July?"
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HE meant if freedom is for America then why isnt a black man? A African American is in apart of America than why isnt he free like the rest?
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here is a summary of the speech:
<span>While still a young slave in Maryland, Frederick Douglass taught himself to read, whereupon he discovered that he was as capable of thinking and reasoning as any free man, and therefore ought to be free. Upon making good his escape to New York, Douglass earned wide renown as an outspoken and eloquent critic of the institution of slavery. In this speech before a sizeable audience of New York abolitionists, Douglass reminds them that the Fourth of July, though a day of celebration for white Americans, was still a day of mourning for slaves and former slaves like himself, because they were reminded of the unfulfilled promise of equal liberty for all in the Declaration of Independence. </span>


here is the full speech : sorry i have to leave it in the comments since it wont let me here

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Analyze “houses and rooms are full of perfumes”
viktelen [127]

In this section, Whitman breaks out of enclosures, whether they be physical enclosures or mental ones. In one of his early notebooks, Whitman had drafted the line “Literature is full of perfumes,” a recognition that books and philosophies and religions all offer filtered versions of how to view the world. They are all “intoxicating”—alluring, to be sure, but also toxic. We are always tempted to live our lives according to the views of those who came before us, but Whitman urges us to escape such enclosures, open up the senses fully, and breathe the undistilled atmosphere itself. It is in this literal act of breathing that we gain our “inspiration,” the actual breathing in of the world. In this section, Whitman records the physicality of singing, of speaking a poem: a poem, he reminds us, does not derive from the mind or the soul but from the body. Our inspiration comes from our respiration, and the poem is “the smoke of my own breath,” the breathing of the atoms of the air back out into the world again as song. Poems are written, Whitman indicates here, with the lungs and the heart and the hands and the genitals—with the air oxygenating our blood in the lungs and pumping it to our brain and every part of our body. We write (just as we read) with our bodies as much as our minds.

The poet in this section allows the world to be in naked contact with him, until he can feel at one with what before had been separate—the roots and vines now seem part of the same erotic flow that he feels in his own naked body (“love-root, silk-thread, crotch and vine”), and he is aware of contact and exchange, as he breathes the world in only to breathe it back again as an undistilled poem. All the senses are evoked here—smell (“sniff of green leaves”), hearing (“The sound of the belch’d words of my voice”), touch (“A few light kisses”), sight (“The play of shine and shade”), taste (“The smoke of my own breath,” that “smoke” the sign of a newly found fire within).

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–EF

Can you please mark as brainliest?

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