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slava [35]
3 years ago
15

Where did the term goth originate

English
2 answers:
Zina [86]3 years ago
8 0
According to their own legend, reported by the mid-6th-century Gothic historian Jordanes, the Goths originated in southern Scandinavia<span> and crossed in three ships under their king Berig to the southern shore of the Baltic Sea, where they settled after defeating the Vandals and other Germanic peoples in that area.</span>
Leokris [45]3 years ago
6 0

It comes from the Germanic tribes that were present in Northern Europe and parts of Scandinavia a thousand years B.C. The Goths played a major role in the fall of the Roman Empire, though they were eventually Christianized and fought to defend it against the Huns. The Visigoths joined the Roman Empire and the Ostrogoths joined Attila the Hun.

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<u><em>Answer:</em></u>

An essential scene in Hamlet is the "play inside a play," intended to ensnare Claudius. In any case, a significant number of the characters are "play-acting," and numerous different scenes reverberation the overwhelming subject of figment and misleading. Follow the theme of acting, appearing, deception, and duplicity rather than earnestness, being, reality, and trustworthiness, as these characteristics are proved all through the play.  

<u>Thesis Statement: </u>Many of the characters in Hamlet are associated with deception intended to bamboozle, sell out, or crush others. The common theme of acting, appearing, dream, and misleading instead of earnestness, being, reality, and trustworthiness shows this basic deception all through the play.  

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B. Hamlet discloses to Gertrude his sadness is certified: "I know not 'appears.'"  

C. Laertes and Polonius both caution Ophelia that Hamlet's words and "tenders of affection" toward her might be false.  

D. The Ghost alludes to Gertrude as "my most appearing to be a righteous ruler."  

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A. Polonius trains Reynaldo to utilize indirection to figure out how Laertes is comforting himself in Paris.  

B. Rosencrantz and Guildenstern, and Polonius and Claud¬ius are on the whole endeavoring to discover through insidious methods what is pestering Hamlet.  

C. Hamlet takes note of the flighty idea of the people, who once scorned Claudius, yet who currently pay the consequences for his "image is pretty much nothing."  

D. Hamlet regrets that he, who has caused, can't vindicate his dad, while the performing artist can convincingly depict the feelings over fanciful characters and activities.  

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A. Claudius and Polonius set Ophelia as the draw to Hamlet, to attempt to become familiar with the reason for his frenzy.  

B. Claudius alludes to the inconsistency between his deed and "[his] most painted word."  

C. Hamlet trains the Players to "hold, as 'twere, the mirror up to nature."  

D. Hamlet is absolutely legitimate with Horatio about the Mousetrap plot on the grounds that Horatio is past complimenting, or being overwhelmed by erroneousness.  

E. "The Mousetrap" and imbecilic show are "acting" or "appearing," and Hamlet's thought process in having it performed is ulterior.  

F. Hamlet tells Rosencrantz and Guildenstern that they are "playing" him like a woodwind, and are not being straightforward with him.  

G. Hamlet says his "tongue and soul in this be two-timers" as he goes to talk with Gertrude, with whom he is upset.  

H. Claudius finds that his actual musings can't offer the path to his ideal activity of asking, yet Hamlet is tricked by the presence of Claudius at supplication and does not kill him.  

I. Hamlet discloses to Gertrude that her deeds have given a false representation of her promises; he encourages her to "expect a prudence" on the off chance that she doesn't really have it.  

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