Answer: Life today Vs Life in the 1850's
Our lives have changed a lot in the last 164 years! Here is how. Today are houses are hi-tech and functional,we are safe and war in our homes. But housing in the 1850s we small,ade out of wood,had a fireplace for heat,and had No electricity. Today in our houses we have electricity running through out our homes. Schools today are big,free,clean,and safe.As you all know,we have many teachers for different grades and have many students! But school in the 1850's we different because school was held in a 1 room house with 1 teacher,and kids from grade 1st-8th we all atenting. The children would then be belted as a punishment. As for food today we have 5 food groups and we also have yumy fast food access 24/7! But as then in 1800's they ate food grown on their own farms or fro the market,and they didn't have snickers or the fast foods we have today.And aslo as for clothing today we wear stylish clothes and clothes that are comfortable and cool looking. Back then in the 1850's clothes were plain,boring,white or gray,and were made to be comfortable. And for last but not least is are transportation today,We get around in planes,train,and automoblies such as cars. But transportation in the 1850's were different. They didn't have car,They used horse and buggy, or they walked! They just shows how in the 1800's people went through a tuff and more different life then we do have today.
Explanation:
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The most important motif in A Midsummer Night’s Dream, and one of the most important literary techniques Shakespeare uses throughout the play, is that of contrast. The three main groups of characters are all vastly different from one another, and the styles, moods, and structures of their respective subplots also differ. It is by incorporating these contrasting realms into a single story that Shakespeare creates the play’s dreamlike atmosphere. Almost diametrically opposite the beautiful, serious, and love-struck young nobles are the clumsy, ridiculous, and deeply confused craftsmen, around whom many of the play’s most comical scenes are centered.
Where the young lovers are graceful and well spoken—almost comically well suited to their roles as melodramatically passionate youths—the craftsmen often fumble their words and could not be less well suited for acting. This disjunction reveals itself as it becomes readily apparent that the craftsmen have no idea how to put on a dramatic production: their speeches are full of impossible ideas and mistakes (Bottom, for example, claims that he will roar “as gently / as any sucking dove”); their concerns about their parts are absurd (Flute does not want to play Thisbe because he is growing a beard); and their extended discussion about whether they will be executed if the lion’s roaring frightens the ladies further evidences the fact that their primary concern is with themselves, not their art (II.i.67–68).
The fact that the workmen have chosen to perform the Pyramus and Thisbe story, a Babylonian myth familiar to Shakespeare’s audiences from Ovid’s Metamorphoses, only heightens the comedy. The story of Pyramus and Thisbe is highly dramatic, with suicides and tragically wasted love (themes that Shakespeare takes up in Romeo and Juliet as well). Badly suited to their task and inexperienced, although endlessly well meaning, the craftsmen are sympathetic figures even when the audience laughs at them—a fact made explicit in Act V, when Theseus makes fun of their play even as he honors their effort. The contrast between the serious nature of the play and the bumbling foolishness of the craftsmen makes the endeavor all the more ridiculous. Further, the actors’ botched telling of the youthful love between Pyramus and Thisbe implicitly mocks the melodramatic love tangle of Hermia, Helena, Demetrius, and Lysander.
I think it's D. , since that is the only one, in my opinion, is wrong in using the word misogamy/misogamist.