Answer:
It is from first-person point of view.
Explanation:
The point of view in "The Cask of Amontillado" is first-person, also called first-person narrative; this style uses "I" or "We." In first person point of view, the text is narrated by a character in the story. In this story, Montresor is the narrator and main character.
Running for the bus, the rain began to pour.
If you really think about, it's saying that the rain is running for the bus, which makes NO sense. Here, read it again...
<em>Running for the bus, the rain </em>began to pour.
The author wasn't specific about <em>who </em>exactly was running for the bus.
Not sure if it asks you to do this, but if you were to change it and make it agree, it would be "<u><em>As I was running for the bus</em></u><u>,</u> the rain began to pour." There're other ways to write it of course, but the point is that now you know who actually ran for the bus, and it makes sense.
Select the preposition that best completes each sentence:
Juan left his wallet on top of the dresser. Lorna fell asleep during the television show and missed the ending. Sheryl’s house is near the park, so we can walk from there.
The next day, Mrs. Weera, Mother, and Nooria tell Parvana their plan: they’ll turn Parvana into a boy. Posing as their male cousin from Jalalabad, Parvana will be able to work and shop in the market. Nooria nastily says that no one will ask about Parvana, but Parvana knows it’s true—none of her friends have seen her since the Taliban closed the schools, and her relatives are scattered. Mother’s voice catches as she says that Parvana will wear Hossain’s clothes. Parvana says this won’t work since she has long hair, but Nooria pulls out the sewing kit and snaps the scissors open and closed. Parvana shrieks that they can’t cut her hair. She says they can cut Nooria’s hair, since Nooria is the oldest and it’s Nooria’s responsibility to look after her, but Nooria looks at her adult body and points out that no one will believe she’s a boy.
The suggestion that Parvana allow the adults to turn her into a boy is offensive to Parvana because in her mind, it means giving up everything she knows and loves about herself. Even if her hair isn’t as beautiful as Nooria’s, it’s still something that makes Parvana who she is. Further, the frantic suggestion that Nooria turn into a boy instead reveals that Parvana believes this is too much to ask. And indeed, it’s a lot of responsibility to place on an 11-year-old. But given the circumstances, there’s little else the family can do to make ends meet.
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Parvana snaps that she’ll be curvy soon, but Mother heads off the fight by saying they’ll deal with that later. For now, the fact remains that Parvana is the only one who can play the part. Mrs. Weera says that this has to be Parvana’s decision. They can force her to cut her hair, but Parvana has to be willing and able to play the part in the market. Realizing that Mrs. Weera is right, Parvana agrees. Knowing it’s her choice makes it easier. Nooria announces that she’ll cut Parvana’s hair, but Mother takes the scissors and Hossain’s clothes and leads Parvana into the washroom. Parvana watches in the mirror as Mother cuts her hair off at her neck. Mother holds the chunk up and suggests they keep it tied with a ribbon, but Parvana refuses. Her hair doesn’t seem important anymore.
Mrs. Weera’s ability to present this to Parvana as a choice helps Parvana see that she does have a choice—and if she chooses not to play along, the fact remains that her family will starve. Knowing this, the choice becomes clear. And with that choice, the lopped-off hair comes to represent a younger, more immature version of Parvana. Cutting off her hair helps Parvana see that she can mold herself to become the kind of person she wants to be—and her willingness to agree to the plan suggests she wants to be someone who cares for her family and makes the necessary sacrifices to do so.
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Mother continues to cut. Parvana starts to feel like a different person as her forehead gets bigger and her ears stick out. Her hair curls, and the short cut makes her eyes look bigger. Parvana decides she has a nice face. When Mother announces that she’s done, she leaves Parvana alone to change. Parvana rubs her hands over her head and decides she likes it. She pulls on Hossain’s pale green shalwar kameez. Though the trousers are too long, if she rolls them up they fit okay. The shirt has pockets, which is a nice change from girls’ clothes. When Mother asks if Parvana is finished, Parvana steps out. Maryam looks confused until she realizes it’s Parvana. Mother says “Hossain” and looks ready to cry, so Nooria insults Parvana as a distraction.
Simply experiencing what it’s like to wear boys’ clothes gives Parvana a sense of what’s possible now that people don’t see her as a girl. With pockets, she can carry money, candy, or whatever small items she finds—something she couldn’t do before. This gives her more control over how she conducts her life. It’s also telling that it’s only once her hair is gone that Parvana decides she has a nice face. This suggests that her hair and the immaturity it represented is what was holding her back before.
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Mother hands Parvana a white cap with beautiful embroidery, gives Parvana money and a scarf, and then sends her out. Parvana reaches for her chador, but Nooria reminds her she won’t need it. Suddenly terrified that someone will recognize her, Parvana pleads with Mother to not force her to go out. Nooria nastily accuses Parvana of being scared, but Parvana spits that it’s easy to call her scared when Nooria is safe inside. Parvana slams the door on her way out.
Answer:
Who is the real monster in Frankenstein?
Victor Frankenstein is the real monster. In 1972, Gaylin lamented that "the tragic irony is not that Mary Shelley's 'fantasy' once again has a relevance. The tragedy is that it is no longer a 'fantasy'—and that in its realization we no longer identify with Dr. Frankenstein but with his monster.".
Explanation:
The true name of the monster was never revealed, instead many gave it the last name of his creator, Victor Frankenstein. Although perhaps that was society’s intent while repurposing this story, to refer to the real monster himself, Mr. Victor Frankenstein; the man who created and abandoned a creature that was capable of destruction. Shelley did not give the hideous creature a name, perhaps for a reason. To not name something dehumanizes it and makes that thing an It – lack of identify due to no name fear of unknown. Yet she gives it such human characteristics by allowing the beast to talk, read, learn another language and even have the capabilities of emotions. Connect better, Sometimes the real monster is not the hideous beast standing in front of you, but rather the beast looking back at you in the mirror. Marry Shelley related Frankenstein’s creation as the product of neglect and lack of responsibility by the creator, a situation all too relevant to today’s society, specify that Mary Shelley wrote the book.
The monster did not choose to be created, he did not choose to look the way that he did, he did not choose to be rejected by everyone around him. As he tells Victor when he approached him in the Alps, “I am malicious because I am miserable.” emphasize what the deeper reasoning is. analyze. There is no moral excuse for the monster’s killing spree, but there may have been a deeper reasoning for Shelley having the monster express this to his creator and possess such strong emotions. When the beast was created, he was brought to the world and left to interact with no one but himself. He discusses with Victor how hard it was for him to even walk around because people would scream in fear at his appearance; Even his own creator left him. clarify that i think the monster is a monster because of doctor, there are two monsters.
