The group of words Until tomorrow is considered to be a fragment, given that it has no verb.
Explanation:
Scout takes Boo—“Mr. Arthur”—down to the porch, and they sit in shadow listening to Atticus and Heck Tate argue. Heck insists on calling the death an accident, but Atticus, thinking that Jem killed Bob Ewell, doesn't want his son protected from the law
Before the end of the age of division Buddhism had gained it appealed to people in China
Answer:
They reveal some truth about humanity.
They stay pertinent to any audience.
Explanation:
The theme in a literary work refers to the central subject to which the work is referring. These subjects are striking, profound and impacting to the reader. They address something that is pertinent about humanity and that should be discussed within a more visible context, through a literary narrative. Because it is so credible to human beings, the theme remains relevant to the public throughout the reading.
Answer: The origins of Gothic literature can be traced to various historical, cultural, and artistic precedents. Figures found in ancient folklore, such as the Demon Lover, the Cannibal Bridegroom, the Devil, and assorted demons, later populated the pages of eighteenth- and nineteenth-century Gothic novels and dramas. In addition, many seventeenth- and eighteenth-century works are believed to have served as precursors to the development of the Gothic tradition in Romantic literature. These works include plays by William Shakespeare, such as Hamlet (c. 1600–01), and Macbeth (1606), which feature supernatural elements, demons, and apparitions, and Daniel Defoe's An Essay on the History and Reality of Apparitions (1727), which was written to support religion and discourage superstition by providing evidence of the existence of good spirits, angels, and other divine manifestations, and by ridiculing delusions and naive credulity. However, while these elements were present in literature and folklore prior to the mid-eighteenth century, when the Gothic movement began, it was the political, social, and theological landscape of eighteenth-century Europe that served as an impetus for this movement. Edmund Burke's treatise A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757) introduced the concept of increasing appreciation for the nature of experiences characterized by the "sublime" and "beautiful" by depicting and then engaging (vicariously) in experiences comprised of elements that are contrary in nature, such as terror, death, and evil. Writers composed Gothic narratives during this period largely in response to anxiety over the change in social and political structure brought about by such events as the French Revolution, the rise in secular-based government, and the rapidly changing nature of the everyday world brought about by scientific advances and industrial development, in addition to an increasing aesthetic demand for realism rather than folklore and fantasy. The Gothic worlds depicted fears about what might happen, what could go wrong, and what could be lost by continuing along the path of political, social, and theological change, as well as reflecting the desire to return to the time of fantasy and belief in supernatural intervention that characterized the Middle Ages. In some cases Gothic narratives were also used to depict horrors that existed in the old social and political order—the evils of an unequal, intolerant society. In Gothic narratives writers were able to both express the anxiety generated by this upheaval and, as Burke suggested, increase society's appreciation and desire for change and progress.
Explanation:
