Alfred Doolittle is a smooth-talking garbage man, a serial monogamist (although he's not always really<span> married), a drunk, and a deadbeat dad. He's got a lot to say about "middle class morality" and complicated theories about the deserving and undeserving poor. He has principles, too, but they're not exactly conventional: he has no trouble milking five pounds from Higgins, but he doesn't want anymore than that. He wants just enough money to have a few drinks and some fun.</span>
In order to understand Doolittle, you have to understand how he speaks. This exchange is notable:
<span>DOOLITTLE ["most musical, most melancholy"] I'll tell you, Governor, if you'll only let me get a word in. I'm willing to tell you. I'm wanting to tell you. I'm waiting to tell you.
HIGGINS. Pickering: this chap has a certain natural gift of rhetoric. Observe the rhythm of his native woodnotes wild. "I'm willing to tell you: I'm wanting to tell you: I'm waiting to tell you." Sentimental rhetoric! That's the Welsh strain in him. It also accounts for his mendacity and dishonesty.</span><span> (2.232-3)</span>
He is the sum of his mysterious speaking ability. You can describe what Doolittle's saying with all sorts of fancy Greek words, but it's enough to note how he repeats those three phrases that Higgins singles out, and how his speech is sort of singsong-y. Whether or not we believe what Doolittle's talking about doesn't matter, it sounds nice. These skills get Doolittle into trouble when Higgins nominates him for some such speaking position…and he gets it, along with a generous income. He can't handle all the money; he doesn't want to be "touched" – asked to spare some change – in the same way he touched Higgins.
<span>Doolittle demonstrates how powerful and potentially dangerous words can be. Lucky for us, his intentions are (mostly) honorable. He's the character most prone to lecturing – yes, even more so than Higgins – and though his theories may not be entirely logical, his little sermons do raise some issues regarding class relations. Think of him this way: he's a stereotype of a drunken poor guy…with an oratorical twist.</span>
Answer:
Answer: I Agree Because, in the story then man talk's about how he would not get the paw and in the story it says that his face whiten that shows that he was scared of the paw and begged them not to take it
Answer:
I think the correct answer would be A.
Explanation:
This is because you are reading about parkitecture. This is the only answer that perfectly fits with the text.
Hope this helped you out! Good luck and have a great day! ;)
Answer:
I guess the answer is option 4 and it shows the conflict between nature and man
Explanation:
In Richard Connell's "The Most Dangerous Game", the story revolves around the protagonist Sanger Rainsford, a famed hunter. After he was stranded in an island owned by Colonel Zaroff, he became the hunted/ prey, thus the reversal of roles. This led to his conflicts in trying to keep himself safe from the barbaric hands of the Colonel who was adamant on killing him for sport.
Conflicts in a story is when one attribute is in opposition against another factor, leading to a difference in opinion and fighting between the two sides.
The case of man versus nature conflict can be seen/ found in the sentence "What perils that tangle of trees and underbrush might hold for him did not concern Rainsford just then."
This sentence is after Rainsford escaped to the forest, eluding the Colonel. He no longer cares what the environment will do to him as long as he is safe from the guns and hands of the Colonel.
Narrative tends to be more of a story and persuasive is trying to get the reader to think a certain way or do a different thing
