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yarga [219]
2 years ago
8

Which form of the modifier correctly completes the sentence? of the five cousins, Ben is the _______swimmer

English
2 answers:
Viefleur [7K]2 years ago
8 0

A. Best the reason why it is not better (even though it sounds right) is because it says "out of the five cousins" there for we are comparing ben to five other people and he is the best.

Katen [24]2 years ago
7 0

Answer:

A)best

Explanation:

the reason why it is not better (even though it sounds right) is because it says "out of the five cousins" there for we are comparing ben to five other people and he is the best.

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The past perfect tense of the verb to backtrack your experience of wearing a face mask for the first time during ECQ is explained below in details.

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Answer for question 1: Re-enactors will never be able to completely replicate all of the situations and challenges of life in the past. Re-enactors, like historians, suffer limitations that cannot be ignored. A paucity of historical sources, for example, may mean that a recreated regiment can never be certain that its clothes are identical to those worn by troops serving in the regiment in the past. Furthermore, for the reasons of cleanliness and safety, certain characteristics cannot be replicated. Most re-enactment groups attempt to compensate for these inescapable modern effects (such as the use of modern toilets rather than digging a trench and food carried from home rather than scavenged in a nearby village) by striving for a realistic representation in every other manner.

Answer for question 2: In the absence of an audience, mainstream reenactors make an effort to appear real, yet they may fall out of character. Hidden stitches and undergarments may not be period-appropriate, but visible stitches are likely to be made in a period-correct manner. Food served in front of an audience is likely to be historically accurate, although it may not be seasonally or geographically appropriate. Modern things are occasionally utilized "after hours" or in a covert manner. The normal approach is to put on a nice show, but correctness is only required to the extent that others can see it.

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Visitors to re-enactment activities obtain an understanding of a particular period. They gain an appreciation of how different life was in the past by simply asking questions, watching how food is prepared over a campfire, and looking at the tents that were used to sleep in. It's a true hands-on experience, since visitors are frequently allowed to sample food, touch uniforms to feel how heavy the cloth is, and learn about the steps involved in firing a musket. Through these contacts with the public, re-enactors pass on their expertise and perspective, making history very accessible. This is what distinguishes re-enactment from more traditional methods of teaching and learning history.

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Lostsunrise [7]

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Among all female poets of the English-speaking world in the 19th century, none was held in higher critical esteem or was more admired for the independence and courage of her views than Elizabeth Barrett Browning. During the years of her marriage to Robert Browning, her literary reputation far surpassed that of her poet-husband; when visitors came to their home in Florence, she was invariably the greater attraction. She had a wide following among cultured readers in England and in the United States. An example of the reach of her fame may be seen in the influence she had upon the reclusive poet who lived in the rural college town of Amherst, Massachusetts. A framed portrait of Barrett Browning hung in the bedroom of Emily Dickinson, whose life had been transfigured by the poetry of “that Foreign Lady.” From the time when she had first become acquainted with Barrett Browning’s writings, Dickinson had ecstatically admired her as a poet and as a woman who had achieved such a rich fulfillment in her life. So highly regarded had she become by 1850, the year of Wordsworth’s death, that she was prominently mentioned as a possible successor to the poet laureateship. Her humane and liberal point of view manifests itself in her poems aimed at redressing many forms of social injustice, such as the slave trade in America, the labor of children in the mines and the mills of England, the oppression of the Italian people by the Austrians, and the restrictions forced upon women in 19th-century society.

Elizabeth Barrett was extremely fortunate in the circumstances of her family background and the environment in which she spent her youth. Her father, whose wealth was derived from extensive sugar plantations in Jamaica, was the proprietor of “Hope End,” an estate of almost 500 acres in Herefordshire, between the market town of Ledbury and the Malvern Hills. In this peaceful setting, with its farmers’ cottages, gardens, woodlands, ponds, carriage roads, and mansion “adapted for the accommodation of a nobleman or family of the first distinction,” Elizabeth—known by the nickname “Ba"—at first lived the kind of life that might be expected for the daughter of a wealthy country squire. She rode her pony in the lanes around the Barrett estate, went with her brothers and sisters for walks and picnics in the countryside, visited other county families to drink tea, accepted visits in return, and participated with her brothers and sisters in homemade theatrical productions. But, unlike her two sisters and eight brothers, she immersed herself in the world of books as often as she could get away from the social rituals of her family. “Books and dreams were what I lived in and domestic life only seemed to buzz gently around, like bees about the grass,” she said many years later. Having begun to compose verses at the age of four, two years later she received from her father for “some lines on virtue penned with great care” a ten-shilling note enclosed in a letter addressed to “the Poet-Laureate of Hope End."

Before Barrett was 10 years old, she had read the histories of England, Greece, and Rome; several of Shakespeare’s plays, including Othello and The Tempest; portions of Pope’s Homeric translations; and passages from Paradise Lost. At 11, she says in an autobiographical sketch written when she was 14, she “felt the most ardent desire to understand the learned languages.” Except for some instruction in Greek and Latin from a tutor who lived with the Barrett family for two or three years to help her brother Edward prepare for entrance to Charterhouse, Barrett was, as Robert Browning later asserted, “self-taught in almost every respect.” Within the next few years she went through the works of the principal Greek and Latin authors, the Greek Christian fathers, several plays by Racine and Molière, and a portion of Dante’s Inferno—all in the original languages. Also around this time she learned enough Hebrew to read the Old Testament from beginning to end. Her enthusiasm for the works of Tom Paine, Voltaire, Rousseau, and Mary Wollstonecraft presaged the concern for human rights that she was later to express in her poems and letters. At the age of 11 or 12 she composed a verse “epic” in four books of rhyming couplets, The Battle of Marathon, which was privately printed at Mr. Barrett’s expense in 1820. She later spoke of this product of her childhood as “Pope’s Homer done over again, or rather undone.” Most of the 50 copies that were printed probably went to the Barretts’ home and remained there. It is now the rarest of her works, with only a handful of copies known to exist.

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