The Penguin Books edition of Arthur Miller's The Crucible includes Act II scene two in the book, but it places the scene in an appendix. The note at the end of Act II says that scene two was part of the original 1959 theatrical production of the play but, at the author's request, was removed from all reading copies of the text until 1971.
The scene has only two characters: John Proctor and Abigail Williams. They meet in the forest one night after Elizabeth has been arrested, and Proctor is the one who requested the meeting. Abigail is a rather pathetic figure, worn out and sore from all the places she claims the "witches" she has accused, including Elizabeth, have poked her and stuck her with sharp objects.
Despite her condition, Abigail is confident that Proctor will want her back one day, now that Elizabeth is out of the way. She says, "Oh, John, I will make you such a wife when the world is white again." Proctor is unmoved, saying he only called her here to inform her of his intention to tell the judge everything in the courtroom tomorrow. He is warning her, he says, in order to "give [her] all good time to think on what to do to save" herself. Neither of them change their positions by the end of the scene, and Abigail's last words are that she will save him at the trial tomorrow.
There are several possible reasons why this scene is generally omitted in theater productions and read separately in classrooms. First, the scene depicts Abigail as a sympathetic figure, a young girl who has come to believe her own lies and is even hurting herself in her delusions. In reality, Abigail is a schemer and a liar, intent on doing nothing except what benefits her. Miller says she has "an endless capacity for dissembling," and she has consistently demonstrated that ability. Proctor must take blame for the affair; however, what happens after that should engender no sympathy in the audience, so the play is better without this scene.
Second, Proctor looks weak and unresolved when he offers Abigail the chance to save herself. He has said to both Elizabeth and Abigail that he will have nothing to do with the girl, yet he invites her alone into the forest at night to offer her a chance to save herself. It looks like weakness and perhaps lingering love on Proctor's part, so the scene is better off in the appendix.
Finally, it is a digression in the plot. At the end of Act II scene one, John is resolved to do what he must to save Elizabeth, and he is determined that Mary Warren will tell the court the truth. His announcement to Abigail that he intends to tell the court everything about her is a digression and a distraction, especially considering the arguments above.
In short, after seeing it on the stage (and presumably receiving mixed or negative feedback from his audiences), Miller must have recognized that this scene did not make his work stronger, which is why he chose to eliminate it from any subsequent printings of the play.
Answer:
“The Persistence of Memory” by Salvador Dalí.
A precise definition of Surrealism can be difficult to grasp, but it's clear that this once avant-garde movement has staying power, remaining one of the most approachable art genres, even today. Imaginative imagery spurred by the subconscious is a hallmark of this type of art, which started in the 1920s. The movement began when a group of visual artists adopted automatism, a technique that relied on the subconscious for creativity.
Tapping into the appeal for artists to liberate themselves from restriction and take on total creative freedom, Surrealists often challenged perceptions and reality in their artwork. Part of this came from the juxtaposition of a realistic painting style with unconventional, and unrealistic, subject matters.
When Dalí painted The Persistence of Memory, his artistic practice was guided by the peculiar “paranoiac-critical method.” Developed by the artist in 1930, the technique relies on self-induced paranoia and hallucinations to facilitate a work of art. This method was particularly instrumental in the creation of Dalí's “hand-painted dream photographs,” a collection of works that are stylistically rooted in realism yet unrealistic in subject matter. Though set in a realistically-rendered landscape, The Persistence of Memory features bizarre subject matter evocative of a dream. While the actual inspiration behind the scene is up for debate (art historians recall Einstein's theory; Dalí comically mentioned Camembert cheese), the odd iconography of the painting is characteristic of the Surrealist movement.
A set of melting clocks—or “soft watches,” as many Surrealists have called them—are scattered across the composition. These fascinating timepieces appear to have lost their integrity, as they're limply draped over a tree branch or sliding off of an ambiguous platform. A single pocket watch, which remains closed, retains its structure, though an army of ants ominously cover its case.
well now a days its new and back then it was johnson that means common
Answer:
Option 6 appears to be the most reliable answer.
Before the game santa clause came