Answer:
A sonnet is a short lyric poem that consists of 14 lines, typically written in iambic pentameter (a 10-syllable pattern of stressed and unstressed syllables) and following a specific rhyme scheme (of which there are several—we’ll go over this point more in just a moment).
Explanation:
In addition, sonnets have something called a volta (twist or turn), in which the rhyme scheme and the subject of the poem suddenly change, often to indicate a response to a question, a solution to a problem, or the resolving of some sort of tension established at the beginning of the poem. This turn normally happens closer to the end of the sonnet, though precisely when it appears varies depending on the particular sonnet form.
Answer: No you can not put a price for happiness. It’s an emotion.
Explanation: happiness comes from joy and pure goodness. Sure money can buy some happiness. But it does not last forever. That is why true happiness does not have a price but is highly valued.
Answer:
1. He's <em><u>a</u></em> very talented boy. He plays <em><u>the </u></em>guitar, sings and .....
2. Does she speak Italian? - No, she's <em><u>a ?/ the ?</u></em> teacher of .....
3. She's <em><u>an</u></em> architect. She has her own company.
4. He plays basketball. He's really good at it.
5. <em><u>The</u></em> profession you've chosen is very difficult.
Explanation:
In the case of sentence #2, without the end of the sentence that is cut off, I cannot say with 100% confidence that the correct choice is 'an' or 'the.'
Answer:
Donne uses the extended metaphor of a ‘city’ not only in ‘Holy Sonnet XIV’ but also in ‘Loves War’. In this Elegy which was written in Donne’s youth, he describes a ‘free City’ which ‘thyself allow to anyone’ – a metaphor for how anyone can enter a woman [ii] – and goes onto say how in there he would like to ‘batter, bleeds and dye’. Here, Donne is controlling the ‘city’ and taking over it himself, however, if Donne intended to use this same metaphor in ‘Holy Sonnet XIV’, the roles have changed and it now signifies how it is Donne who needs to be seized by God’s spirit. Furthermore, this represents how Donne’s life and therefore attitude has changed between writing these poems; he used to feel in control but now he is controlled.
The physical verbs that are used immediately sets the violent theme of the octave. The spondaic feet emphasizes Donne’s cry for God to ‘break, blow’ and ‘burn’ his heart so he can become ‘imprisoned’ in God’s power, creating a paradoxical image of a benevolent God acting in a brutal way. He uses a metaphysical conceit to explain how he is ‘like an usurp’d town’ with God’s viceroy (reason) in him. This imagery of warfare that pervades the sonnet symbolises his soul at war with himself; only if God physically ‘overthrow’s’ Donne and ‘batters’ his sinful heart will he be able to ‘divorce’ the devil. It was around the time of writing this poem that Donne renounced his Catholic upbringing which gives evidence to the assumption that the sin he was struggling with began to overpower his Christian beliefs and needed God become as real to him as God was to his respected Catholic parents. Furthermore, in ‘Holy Sonnet XVII’ Donne exclaims how ‘though [he] have found [God], and thou [his] thirst hast fed, a holy thirsty dropsy melts [him] yet. This reveals that Donne feels that even though he has found God, his yearning is not satisfied which gives evidence towards the assumption that he is crying out for spiritual ecstasy. This paradox between freedom and captivity was most frequently written about by most prison poets such as Richard Lovelace [iii] Donne wrote, ‘Except you enthrall me, never shall be free’ which implies the same idea as Loveless in ‘To Althea, From Prison’ that true freedom is internal, not external, symbolising his struggle with sin whilst he is physically free.
Answer:
These are the causes of inequality