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Answer:
The writer uses the reporting verb "snarled" to suggest that the merchant is unfriendly and rude. They also use the verb "muttered" which suggests that the merchant is angry and impatient. The writer uses the reporting verb "remarked" to suggest that the grandmother is pleased with the situation. They also use the verb "sang" to suggest that the grandmother is happy and carefree.
Explanation:
The writer uses the reporting verb "snarled" to suggest that the merchant is unfriendly and rude. This verb choices shows that the merchant is not a pleasant person to interact with. They also use the verb "muttered" which suggests that the merchant is angry and impatient. This verb choice reinforces the idea that the merchant is not a nice person, as they are both angry and impatient. The writer uses the reporting verb "remarked" to suggest that the grandmother is pleased with the situation. This verb choice shows that the grandmother is happy with how things are going. They also use the verb "sang" to suggest that the grandmother is happy and carefree. This verb choice reinforces the idea that the grandmother is a happy and content person.
<span>The correct answer is A. The period is used only at the end of a sentence and is considered to give finality to a given sentence, providing a stopping place. The comma, apostrophe and quotation marks each provide a different functionality, and are used internally in a sentence. The comma is used to separate words. The apostrophe is used to indicate possessiveness. Quotation marks indicate a direct quote from a person.</span>
This is a short modernist fiction that celebrates the life of the imagination, and points to its shortcomings. As a narrator, Woolf was in the habit of thinking aloud and talking to herself, as well as to her imaginary readers. Here she takes the process one stage further by ‘talking’ to her own fictional creations.
She also shows the process of the artistic imagination at work, raising doubts about its own creations, asking questions, and posing alternative interpretations. She even develops lines of narrative then backtracks on them as improbable or cancels them as invalid, mistaken interpretation, or rejects them as inadequate.
In other words, the very erratic process of ratiocination – all the uncertainties, mistakes, hesitations – are reproduced as part of her narrative. She even addresses her own subject, silently, from within the fictional frame, and reflects on fictional creations which ‘die’ because they are rejected as unacceptable:
