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The correct answer is b . This supports the text throughly .<span />
Answer:
While many have long believed that Jim Casy embodied Steinbeck's main philosophical beliefs, Tom Joad, completely flawed and human, is the novel's main character. Tom is the character who shows the most development, experiencing what Peter Lisca calls an "education of the heart." This education, gained through experience, intuition, and the teachings of Jim Casy, best exemplifies the moral journey from self to community, from "I" to "we." Tom moves from caring only for himself to a familial loyalty to seeing the entire world as his family.
Tom is kind and often merciful, yet quick to anger and fiercely independent. As a man of action, he embodies one of the novel's main philosophical strands, pragmatism, standing in contrast to the idealistic and talkative Jim Casy. While Casy is predominantly an observer and commentator on the human condition, Tom's acts of humanity are subconscious, his insights and compassion intuitive. Tom is concerned with the practical aspects of his life as they relate to the here and now, not the moral or ideological circumstances surrounding his actions. In this sense, Tom and Casy follow inverted paths in the development of their characters. After Casy has the opportunity to witness his beliefs acted out by the jail inmates, he moves from a position of observation and contemplation to one of action. Tom's social role moves in the opposite direction, from one of action to one of reflection. Not until Tom stops moving and reacting does he have the opportunity to absorb Casy's ideas. When he does so, however, Tom's development comes full-circle as he pledges to return to continue the actions begun by Casy.
A whose neighbor is good at video games
Answer:
The Adventures of Huckleberry Finn is written in the first-person point of view, which allows the reader to experience the story through Huck’s eyes and identify closely with the narrator. The story is told entirely from Huck’s perspective, and Huck refers to himself as “I” throughout the novel. Readers experience both external events and Huck’s internal thoughts and feelings from his vantage point. Even when Huck is being deceitful, as when he dresses as a girl and lies to the woman he meets in order to get information about his father, Huck’s actions remain sympathetic, because the reader knows his motivations. In one sense many of Huck’s actions are not that different from the king and the duke – all three tell stories to manipulate people – but because we know Huck’s motives are altruistic, his actions seem justified. We don’t see the story from the perspective of the king and duke, so we can only assume they are as selfish and greedy as their actions suggest. It is necessary for the reader to relate closely to Huck so that the moral stakes of his dilemma about helping Jim are high, and the reader is fully invested in Huck’s decision.
Huck can be an unreliable narrator, and his naïve misreading of situations creates dramatic irony, which contrasts Huck’s essentially good nature to the cynicism and hypocrisy of adults. Dramatic irony refers to situations where the reader knows more than a character in a book, and Twain employs it often in Huck Finn. Early on Huck fails to understand that the Widow Douglas prays before taking her meals: “When you got to the table you couldn’t go right to eating, but you had to wait for the widow to tuck down her head and grumble a little over the victuals, though there warn’t really anything the matter with them.” An extended example comes later when Huck goes to the circus. Because he is unaccustomed to the tropes of the performance, he is amazed that the clown has such witty comebacks and that the apparently drunk man in the audience turns out to be a performer: “then the ringmaster he see how he had been fooled,” he says, not guessing the ringmaster is in on the deception as well. These instances develop Huck’s character as innocent and uncorrupted, in opposition to the manipulative and jaded characters he meets with Jim.
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