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mamaluj [8]
3 years ago
8

Write an explanation of how Shakespeare crafts Act I, scene i for dramatic impact. What particular elements contribute to this i

mpact?
English
1 answer:
pishuonlain [190]3 years ago
5 0

According to a different source, this question refers to the play <em>Hamlet</em> by William Shakespeare.

There are several methods that the author employs in order to create a dramatic first scene. In Act I, scene 1, Shakespeare begins the play right at the beginning of an exciting moment. The first line asks "Who's there?" and invites the reader to pay close attention immediately.

Moreover, the first scene deals with the appearance of a ghost. Not only does this introduce a mystery (who is the ghost? why is he here?) that encourages the reader to continue reading. It also creates a scary and eerie mood that draws the reader in.

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What theme of the play Hamlet is apparent in these lines?
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Excerpt from My Discovery of England: “The Balance of Trade in Impressions” (Part A)
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Excerpt from My Discovery of England: “The Balance of Trade in Impressions” (Part A)

by Stephen Leacock

For some years past a rising tide of lecturers and literary men from England has washed upon the shores of our North American continent. The purpose of each one of them is to make a new discovery of America. They come over to us travelling in great simplicity, and they return in the ducal suite of the Aquitania.1 They carry away with them their impressions of America, and when they reach England they sell them. This export of impressions has now been going on so long that the balance of trade in impressions is all disturbed. There is no doubt that the Americans and Canadians have been too generous in this matter of giving away impressions. We emit them with the careless ease of a glowworm, and like the glowworm ask for nothing in return.

2But this irregular and one-sided traffic has now assumed such great proportions that we are compelled to ask whether it is right to allow these people to carry away from us impressions of the very highest commercial value without giving us any pecuniary compensation whatever. British lecturers have been known to land in New York, pass the customs, drive uptown in a closed taxi, and then forward to England from the closed taxi itself ten dollars’ worth of impressions of American national character. I have myself seen an English literary man,—the biggest, I believe: he had at least the appearance of it; sit in the corridor of a fashionable New York hotel and look gloomily into his hat, and then from his very hat produce an estimate of the genius of America at twenty cents a word. The nice question as to whose twenty cents that was never seems to have occurred to him.

I am not writing in the faintest spirit of jealousy. I quite admit the extraordinary ability that is involved in this peculiar susceptibility to impressions. I have estimated that some of these English visitors have been able to receive impressions at the rate of four to the second; in fact, they seem to get them every time they see twenty cents. But without jealousy or complaint, I do feel that somehow these impressions are inadequate and fail to depict us as we really are.

4Let me illustrate what I mean. Here are some of the impressions of New York, gathered from visitors’ discoveries of America, and reproduced not perhaps word for word but as closely as I can remember them. “New York,” writes one, “nestling at the foot of the Hudson, gave me an impression of cosiness, of tiny graciousness: in short, of weeness.” But compare this—“New York,” according to another discoverer of America, “gave me an impression of size, of vastness; there seemed to be a bigness about it not found in smaller places.” A third visitor writes, “New York struck me as hard, cruel, almost inhuman.” This, I think, was because his taxi driver had charged him three dollars. “The first thing that struck me in New York,” writes another, “was the Statue of Liberty.” But, after all, that was only natural: it was the first thing that could reach him.

Nor is it only the impressions of the metropolis that seem to fall short of reality. Let me quote a few others taken at random here and there over the continent.

6“I took from Pittsburg,” says an English visitor, “an impression of something that I could hardly define—an atmosphere rather than an idea.”

7All very well. But, after all, had he the right to take it? Granted that Pittsburg has an atmosphere rather than an idea, the attempt to carry away this atmosphere surely borders on rapacity.2

8“New Orleans,” writes another visitor, “opened her arms to me and bestowed upon me the soft and languorous kiss of the Caribbean.” This statement may or may not be true; but in any case it hardly seems the fair thing to mention it.

9“Chicago,” according to another book of discovery, “struck me as a large city. Situated as it is and where it is, it seems destined to be a place of importance.”

1Aquitania: a British ocean liner

2rapacity: greediness

How does the author’s use of rhetoric in paragraph 4 advance his point of view?

Group of answer choices

It provides a variety of impressions that highlight the variety of travelers to New York.

It provides primary evidence of the inconsistency of reports on the nature of New York.

It utilizes primary sources in order to show the rich diversity of New York City.

It utilizes a variety of impressions that show the consistent reports of New York City.

Quiz

7 0
3 years ago
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