Ebenezer Scrooge’s character changes between Act 1 and Act 2 of A Christmas Carol: Scrooge and Marley. In an essay, describe these changes and analyze how events in the plot shape Scrooge’s character. Include details from the text in your essay.
Answer
Scrooge goes through a catharsis, he manages,just in time as far as his age is concerned, to reinvent himself. He goes through an 'enlightenment' when the ghost of his old business partner comes back from the dead momentarily to tell him about the shackles of sin; greed, selfishness, uncharitable behavior, avarice and general penny-pinching meanness, and where it has led him in the afterlife. It has brought him nothing but misery - but Scrooge can avoid it if he manages to mend his ways before his own death. This requires remorse, sorrow and genuine shame on Scrooge's part. At first he doesn't seem to be learning any lessons - then there is an illumination (he asks what will become of Tiny Tim and now seems to genuinely care.) The change in Scrooge is a change in heart.
Answer:
a demure person
it has the most positive connotation
The inference is that the most important idea of the in Barrio is that entering a new school, especially one in a foreign country, can be very intimidating for a young child.
<h3>What is a cub pilot by Mark Twain about?</h3>
It should be noted that in the memoir, Mark Twain recalls the two years he spent in apprenticeship for steamboat pilots. He credits these years for his ability to understand different types of people, whether real or fictional.
In Barrio, the complexity of adapting to new ways of life is a theme in the novel, as is understanding new ways of thinking, and learning to accept change. It should be noted that all these challenges define the immigrant experience and explain the feelings of displacement.
Therefore, the inference is that the most important idea of the in Barrio is that entering a new school, especially one in a foreign country, can be very intimidating for a young child.
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"There's some folks who don't eat like us," she whispered fiercely, "but you ain't called on to contradict 'em at the table when they don't. That boy's yo' comp'ny and if he wants to eat up the table cloth you let him, you hear?"
"He ain't company, Cal, he's just a Cunningham-"
"Hush your mouth! Don't matter who they are, anybody sets foot in this house's yo' comp'ny, and don't you let me catch you remarkin' on their ways like you was so high and mighty! Yo' folks might be better'n the Cunninghams but it don't count for nothin' the way you're disgracin' 'em—if you can't act fit to eat at the table you can just set here and eat in the kitchen!"
Calpurnia sent me through the swinging door to the diningroom with a stinging smack. (3.26-29)
Cal's moral lesson here is to respect people's differences, even if you think you're better than them. And acting like you're better than other people is the surest way to show that you're not. This interaction is an early blow against the stereotype that white people have morals but African-Americans don't—and Cal follows it up with a loving "blow" of her own. There's nothing like a smack to make a lesson hit home, right?