Answer:
It was realistic in contrast to fantastic and marvelous chivalric romances. The narrative romances before Don Quixote gave no importance to character's inner thoughts, while Don Quixote also presents insights into character's psychology.
Explanation:
The most significant element differentiating Don Quixote from literature before it is its form, content and treatment of subject. Literature before Don Quixote was mostly chivalric romance full of marvels and fantasies. Even if some of the literature before Don Quixote was realistic, it was in verse (Chaucer’s Canterbury Tales). In contrast Don Quixote was the first major realistic literature written in prose (later to be called novel).
The chivalric romance before Don Quixote featured disconnected stories of the same characters with little or no insight into character’s inner thoughts or psychology, while Don Quixote started the tradition of focusing more on character’s complex inner thoughts narrated in series on connected episodes.
Most of the literature before Don Quixote had main characters that were ideals without any flaws, but Don Quixote (as a protagonist) is a common man with many deficiencies.
So, Don Quixote laid a firm foundation on which future’s most important literary genre of novel was to be built.
Answer:
Hope
Explanation:
The symbolism of the blue sky which occur both in her reminiscence as a young girl, and now, as she looks out the window symbolize hope.
The blue sky appear just after Mrs. Mallard was told about the death of her husband, This simply symbolize hope in her new situation.
Mrs. Mallard who had longed for her life to end, thinking there wouldn't be any improvement but limitations. Now that end seems full of hope.
Mrs. Mallard has lived for several years under the same gloom of monotony, hoping that life will improve for better. The clouds begin to break just as Mrs. Mallard's situation changes, symbolizing the hope she feels for brighter days ahead.
Answers:
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9) TRUE .
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10) "our sense of vision".
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A violent storm rages around a small ship at sea. The master of the ship calls for his boatswain to rouse the mariners to action and prevent the ship from being run aground by the tempest. Chaos ensues. Some mariners enter, followed by a group of nobles comprised of Alonso, King of Naples, Sebastian, his brother, Antonio, Gonzalo, and others. We do not learn these men’s names in this scene, nor do we learn (as we finally do in Act II, scene i) that they have just come from Tunis, in Africa, where Alonso’s daughter, Claribel, has been married to the prince. As the Boatswain and his crew take in the topsail and the topmast, Alonso and his party are merely underfoot, and the Boatswain tells them to get below-decks. Gonzalo reminds the Boatswain that one of the passengers is of some importance, but the Boatswain is unmoved. He will do what he has to in order to save the ship, regardless of who is aboard.
The lords go belowdecks, and then, adding to the chaos of the scene, three of them—Sebastian, Antonio, and Gonzalo—enter again only four lines later. Sebastian and Antonio curse the Boatswain in his labors, masking their fear with profanity. Some mariners enter wet and crying, and only at this point does the audience learn the identity of the passengers on-board. Gonzalo orders the mariners to pray for the king and the prince. There is a strange noise—perhaps the sound of thunder, splitting wood, or roaring water—and the cry of mariners. Antonio, Sebastian, and Gonzalo, preparing to sink to a watery grave, go in search of the king.
