Answer: Hello There!...............
Foreign land is this the correct answer? I'll change it if it is incorrect.
Explanation:
Mark me brainest please. Hope this helps. Anna ♥
Answer:
“Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before.” – The Raven, by Edgar Allan Poe.
An alliteration is the use of a series of three or more words that start one or two letters that are the same. Some invented examples could be: “Sally the slithering snake, snuck secretly towards the stables”.
There are also many tongue twisters composed by alliterations, like: “She sells sea-shells down by the sea-shore”; or “Peter Piper Picked a Peck of Pickled Peppers”.
Hope this help
plz mark brainliest
Have a nice day!!!
Answer: Option 1 is recommended by me
Supporting sentences are there to provide examples to the topic sentence so the reader has something to go off of rather than just a bunch of facts.
A concluding paragraph can help to give the reader a closing so they know the material is coming to an end and it helps the reader sum up and recollect back on what they just read
a works cited page is there purely to give credit to the people that you have learned from so that the teacher or professor knows that you are not just pulling things from thin air, and to help ensure that the material that you presented is actually yours.
paraphrasing things can be risky because you are not actually using your own ideas and thoughts you are just taking what someone has said and rewording it while summarizing things is concluding what you have just read and telling the reader what you understood about the material.
and i' m not sure what you meant in 9.
Answer:
Explanation:
What could be a worse fate for a modern American female poet than to be lumped into a nebulous, chauvinistic and ever slightly misogynistic pool of cess stereotyped as a “domestic poet.” Anyone unfamiliar with the term coming across it from the first time in reference to a female poet might well believe that domestic poetry is sweetly rhyming verse taking as its subject situations like getting the kids into the van for soccer practice, making cookies for the PTA meeting and, of course, a litany of hatred expressed toward husbands who are never there to help with domestic issues.
Never mind that Robert Frost and Walt Whitman and Wallace Stevens have all at one time or another found a niche within the broadly defined movement or genre of domestic poetry. Which, for the same of brevity, shall be termed poetry dealing with the commonplace of everyday as opposed to epic tales, transcendental unity of man with nature, mysticism, avant-garde experimentation with form over content and various other assorted and sundry types of poems with which the average person cannot relate. Linda Pastan, in other words, writes poems in which she consistently returns to touch upon universal themes dealing with family and relationships and the difficulties of normal existence and the emotional distress of just getting up and living live as it comes.
The tension that always exists between members of a family regardless of the definition or connotation applied to the term “family” has been a great source of inspiration to Pastan from her earliest verse and throughout her development and maturation. By contrast, an equally concentrated examination of the tensions introduced by religious and spiritual expectations has tended to dissipate throughout that process of growing older and becoming more domesticated. In its place Pastan has created a body of work that is far more elegiac and meditative and, it must finally be admitted, less domestic. With the introduction of a more melancholic and reflective poetry that moves into a greater sense of isolation and a solitary contemplation of tactile nature rather than abstract spiritualism, Pastan succeeds in tossing off whatever chains may have been tied around her verse as a result of the unfortunate constriction of trying to pigeonhole her as merely a domestic poet.
