The effects of the Great Chicago fire would be the most focused because it is an exact topic focused on and exact event. The others could all be narrowed down.
Explanation:
<h2>B Share and spread......</h2>
Answer and Explanation:
Vonnegut's letter and 1984 are showing how the hiding of messages and concepts is done by people who are in power to manipulate, alienate and limit people's access to information that will make them reason.
These two works show how the reasoning of the mass, of the people is dangerous for the powerful and for that reason, they will try their best to deny any type of media that encourages racism at the expense of alienation. This occurs through the censorship of books, the denial of historical facts and the positioning as a figure that contains the truth and that must be followed. This occurs through manipulation.
However, even in the midst of these similarities, these two works present some differences, mainly regarding the level of power of the active manipulative force. In Vonnegut's letter, this force has a more domestic power and is limited to a region, which shows that the capacity for manipulation may be closer to what we imagine and it is necessary to perceive and fight it. In 1984, the manipulative force is something comprehensive, governmental and greater, which has the power to interfere in absolutely any factor and any element of human knowledge.
Answer to Question 1: Hamlet becomes increasingly furious with both himself and whoever harmed those who he cared about. A visceral sentiment of vengeance consumes him as he realizes his mind won't be at peace if he simply stands around fearfully inside his aristocratic eggshell, and the sentiment won't snuff out until the ones responsible for his anger are punished.
Answer to Question 2: Hamlet believes he will become a beast if he gives himself into an avenging wrath, but it does not matter to him as long as his grieving thoughts are cleansed. Ignoring the incident would simply preserve his plight.
Answer to Question 3: The audience should feel compasion for the man in duel, and be afraid that a good man who's well aware of his own thoughts and conclusions - a man that has lost nearly everything - gave into the rage.
Director's notes on Proper Soliloquies.
An actor who aims to perform a soliloquy must look around their environment, focus on a significant element of the scene, and procced to describe with detail how the sight makes them feel - repeat the process with the rest of the scene -. The actor should change the tone of their voice between the lines depending on the current feeling of their character; shouting it all should not be neccesary and might be considered exaggerated.
