Say you are saying an apology... it doesn't mean anything until your ACTIONS show it. Words do not pay the deeds you have done, you need to prove it to others, that you are truly sorry, AND change your habits. If you don't even change your habits, then people will know that you weren't even sorry in the first place, and that you just said it to get it over with. Words also do no pay what you say. If you say a word to your family that isn't so nice... words can't pay unless your actions show it.
So what I am trying to get at is words do not pay, unless your actions show that you are truly sorry, and that your actions backup your words.
Hope this helps, have a good day. c;
Answer:
Nancy Clutter was the last person to go to bed on the night of the murder. On that night, Bobby visited her and left by 11p.m. Nancy noted the time Bobby left in her diary. During the investigation, Bobby was the first suspect apprended by the police since he was the last that visited the Clutters on the night of their murder.
Explanation:
In Cold Blood was written by Truman Capote. The story gives an investigative insight into the murder of the Clutters. Perry and his friend were the perpetrators who were later apprended.
Answer:
Elie states that, "Physically, he was as awkward as a clown. His waiflike shyness made people smile. As for me, I liked his wide, dreamy eyes, gaz-ing off into the distance." I think it is ironic that the person villagers regarded as a comic figure, of no consequence, should be the messanger of their fate.
Explanation:
Answer:
Donne uses the extended metaphor of a ‘city’ not only in ‘Holy Sonnet XIV’ but also in ‘Loves War’. In this Elegy which was written in Donne’s youth, he describes a ‘free City’ which ‘thyself allow to anyone’ – a metaphor for how anyone can enter a woman [ii] – and goes onto say how in there he would like to ‘batter, bleeds and dye’. Here, Donne is controlling the ‘city’ and taking over it himself, however, if Donne intended to use this same metaphor in ‘Holy Sonnet XIV’, the roles have changed and it now signifies how it is Donne who needs to be seized by God’s spirit. Furthermore, this represents how Donne’s life and therefore attitude has changed between writing these poems; he used to feel in control but now he is controlled.
The physical verbs that are used immediately sets the violent theme of the octave. The spondaic feet emphasizes Donne’s cry for God to ‘break, blow’ and ‘burn’ his heart so he can become ‘imprisoned’ in God’s power, creating a paradoxical image of a benevolent God acting in a brutal way. He uses a metaphysical conceit to explain how he is ‘like an usurp’d town’ with God’s viceroy (reason) in him. This imagery of warfare that pervades the sonnet symbolises his soul at war with himself; only if God physically ‘overthrow’s’ Donne and ‘batters’ his sinful heart will he be able to ‘divorce’ the devil. It was around the time of writing this poem that Donne renounced his Catholic upbringing which gives evidence to the assumption that the sin he was struggling with began to overpower his Christian beliefs and needed God become as real to him as God was to his respected Catholic parents. Furthermore, in ‘Holy Sonnet XVII’ Donne exclaims how ‘though [he] have found [God], and thou [his] thirst hast fed, a holy thirsty dropsy melts [him] yet. This reveals that Donne feels that even though he has found God, his yearning is not satisfied which gives evidence towards the assumption that he is crying out for spiritual ecstasy. This paradox between freedom and captivity was most frequently written about by most prison poets such as Richard Lovelace [iii] Donne wrote, ‘Except you enthrall me, never shall be free’ which implies the same idea as Loveless in ‘To Althea, From Prison’ that true freedom is internal, not external, symbolising his struggle with sin whilst he is physically free.
Answer: He feels that independence can strengthen friendships.
