The dark is good the light is bad but they both can be good
<u>Answer:</u>
<u>They are both of Armenian origin who pursue their dreams.</u>
<u>Explanation:</u>
Note that the story of Aram is captured in a series of short stories about the life of this character from his youthful days.
First, we are told about Aram in the story, “<em>The Summer of the Beautiful White Horse,” </em>who at the time was a nine years old boy of belonging to an immigrant Armenian family in living in the United States.
However, Aram’s dealings with uncle Melik was mentioned in the third story, “The Pomegranate Trees,” where we are told that uncle has a goal pursuing mindset like Aram, Melik decides to grow an orchard in the desert, although it didn't produce well in the end, but he tried pursuing the goal; a quality that both him and Aram shares.
What sentence???
Since there's nothing, i can't answer it. Sorry!
Commons
“How did Faulkner pull it off?” is a question many a fledgling writer has asked themselves while struggling through a period of apprenticeship like that novelist John Barth describes in his 1999 talk "My Faulkner." Barth “reorchestrated” his literary heroes, he says, “in search of my writerly self... downloading my innumerable predecessors as only an insatiable green apprentice can.” Surely a great many writers can relate when Barth says, “it was Faulkner at his most involuted and incantatory who most enchanted me.” For many a writer, the Faulknerian sentence is an irresistible labyrinth. His syntax has a way of weaving itself into the unconscious, emerging as fair to middling imitation.
While studying at Johns Hopkins University, Barth found himself writing about his native Eastern Shore Maryland in a pastiche style of “middle Faulkner and late Joyce.” He may have won some praise from a visiting young William Styron, “but the finished opus didn’t fly—for one thing, because Faulkner intimately knew his Snopses and Compsons and Sartorises, as I did not know my made-up denizens of the Maryland marsh.” The advice to write only what you know may not be worth much as a universal commandment. But studying the way that Faulkner wrote when he turned to the subjects he knew best provides an object lesson on how powerful a literary resource intimacy can be
Dramatic irony occurs when the audience knows something that the characters don’t.
