<span>Read the passage and write a one-paragraph response of at least three to five sentences.
A man stood upon a railroad bridge in northern Alabama, looking down into the swift water twenty feet below. The man's hands were behind his back, the wrists bound with a cord. A rope closely encircled his neck. It was attached to a stout cross-timber above his head and the slack fell to the level of his knees. Some loose boards laid upon the sleepers supporting the metals of the railway supplied a footing for him and his executioners-two private soldiers of the Federal army, directed by a sergeant who in civil life may have been a deputy sheriff. At a short remove upon the same temporary platform was an officer in the uniform of his rank, armed. He was a captain. A sentinel at each end of the bridge stood with his rifle in the position known as "support," that is to say, vertical in front of the left shoulder, the hammer resting on the forearm thrown straight across the chest-a formal and unnatural position, enforcing an erect carriage of the body. It did not appear to be the duty of these two men to know what was occurring at the center of the bridge; they merely blockaded the two ends of the foot planking that traversed it.
Beyond one of the sentinels nobody was in sight; the railroad ran straight away into a forest for a hundred yards, then, curving, was lost to view. Doubtless there was an outpost farther along. The other bank of the stream was open ground-a gentle acclivity topped with a stockade of vertical tree trunks, loopholed for rifles, with a single embrasure through which protruded the muzzle of a brass cannon commanding the bridge. Midway of the slope between the bridge and fort were the spectators-a single company of infantry in line, at "parade rest," the butts of the rifles on the ground, the barrels inclining slightly backward against the right shoulder, the hands crossed upon the stock. A lieutenant stood at the right of the line, the point of his sword upon the ground, his left hand resting upon his right.
Excepting the group of four at the center of the bridge, not a man moved. The company faced the bridge, staring stonily, motionless. The sentinels, facing the banks of the stream, might have been statues to adorn the bridge. The captain stood with folded arms, silent, observing the work of his subordinates, but making no sign. Death is a dignitary who when he comes announced is to be received with formal manifestations of respect, even by those most familiar with him. In the code of military etiquette silence and fixity are forms of deference.
What has probably happened before this passage begins? Be sure to support your response with at least two examples from the text.</span>
Answer:
Mr stratton wishes that we loved English as much as he does, but he also hopes that we learn all the important life lessons from the literary works he makes us read.
Explanation:
Answer:
little headway, would be a good synonym for little progress
Answer:
the correct answer. in his essay "civil disobedience," henry david thoreau wrote "that government is best which governs least." which answer best shows how this motto reflects transcendentalist principles? a. an ideal government does not exist, so anarchy is best for a nation. b. citizens require the government to define the difference between right and wrong. c. government can act as an impediment to the will and morality of individual men. d. an ideal nation is one that is not governed by a monarchy or dictatorship. e. government on a large scale is inefficient and should be managed at the state level.
Explanation:
As Mama’s only son, Ruth’s defiant husband, Travis’s caring father, and Beneatha’s belligerent brother, Walter serves as both protagonist and antagonist of the play. The plot revolves around him and the actions that he takes, and his character evolves the most during the course of the play. Most of his actions and mistakes hurt the family greatly, but his belated rise to manhood makes him a sort of hero in the last scene.
Throughout the play, Walter provides an everyman perspective of the mid-twentieth-century Black male. He is the typical man of the family who struggles to support it and who tries to discover new, better schemes to secure its economic prosperity. Difficulties and barriers that obstruct his and his family’s progress to attain that prosperity constantly frustrate Walter. He believes that money will solve all of their problems, but he is rarely successful with money.
