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victus00 [196]
3 years ago
13

Metonymy is best defined a figure of speech in which

English
1 answer:
Nonamiya [84]3 years ago
6 0
A thing or concept is referred to by the name of something closely associated with that thing or concept

Brainliest?
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Please help
azamat

"Well see if you take a setgrenal over here, you'll see a flipperdonder. Take one more step to the right and see a whalyoa," said the Updondesie.

"Toodlroo is my favorite treat," exclaimed Bingus.

The Updondesie setgrenal at Bingus with a blank expression. "Well, Bingus Gillie, you might want to quex on out of here before you fall into some Toodlroo," quipped the Updondesie and he nudged Bingus over the edge into a never ending river of Toodlroo. He state and he completely ignore the scream kid, "Shall we move on with the bizogig?"

7 0
3 years ago
Why the preamble is more compelling because it wants to improve the government
icang [17]

Answer:

The preamble sets the stage for the Constitution (Archives.gov). It clearly communicates the intentions of the framers and the purpose of the document. The preamble is an introduction to the highest law of the land; it is not the law. It does not define government powers or individual rights.

Explanation:

according to a g  o  o  g  l  e answer

8 0
2 years ago
Task 2 (8 points)
natta225 [31]

Answer:

2) WITH 3) FEEL 4)THERE 5)ABLE 6) AN 7) WAS 8) ONCE

Explanation:

Native english speaker

6 0
3 years ago
Is it better for a society if everyone is the same?<br> Book: The Giver
Pachacha [2.7K]

Answer: no because everyone would act the same and nobody would be special. the world would be more sad because we each have something that makes up special and different from eachother, and if that was taken away we would all be the same and we wouldn’t be as intriguing to eachother.

Explanation:

7 0
3 years ago
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).

Now Whitman gently mocks those who feel they have mastered the arts of reading and interpretation. As we read this poem, Whitman wonders if we have “felt so proud to get at the meaning of poems,” and he invites us now to spend a “day and night” with him as we read “Song of Myself,” a poem that does not hide its meanings and require occult hermeneutics to understand it. Rather, he offers up his poem as one that emerges from the undistilled and unfiltered sources of nature, the words “belch’d” (uttered, cried out, violently ejected, bellowed) instead of manicured and shaped. This is a poem, Whitman suggests, that does not want to become a guide or a “creed,” but one that wants to make you experience the world with your own eyes. We take in this poet’s words, and then “filter them” from our selves, just like we do with the atmosphere and all the floating, mingling atoms of the world.

–EF

Can you please mark as brainliest?

6 0
3 years ago
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