Answer:
no
Explanation:
spelling is strictly the study of how words are spelled
Although we never learn exactly what changes Hamlet asked The Players to make in their script, it is almost certain that the changes included the dumb show portion that presents the Fellow pouring poison into the King’s ear as well as the lines about fidelity and widowhood. One aspect of the irony is that Hamlet requested the changes so he could watch Claudius’s reaction: to “catch the conscience of a king.” He later tells his step-father. Dramatic irony is simply giving the audience more information than another character has. When Gertrude says this, she is speaking to the audience, not another character. She is foreshadowing any negative consequences of another character's actions.
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3) Class distinctions
In Pride and Prejudice, Elizabeth Beckett's family wants to marry a rich noble because it will make them wealthy and be from a higher class.
This class distinction theme also appears in other books by her like Sense and Sensibility.
Hope this helps :)
Answer:
I will try
Explanation:
Paragraph writing in fiction doesn’t follow traditional rules. Like storytelling itself, it is artistically liberated, and that liberation gives it the potential to contribute to the story’s aesthetic appeal. Paragraphs build a story segment-by-segment. They establish and adjust the pace while adding subtle texture. They convey mood and voice. They help readers visualize the characters and the way they think and act by regulating the flow of their thoughts and actions.
In this series, adapted from “The Art of the Paragraph” by Fred D. White in the January 2018 issue of Writer’s Digest, we cover paragraph writing by exploring different lengths and kinds of paragraphs—and when to use each one. [Subscribe to Writer’s Digest today.]
How to Write a Descriptive Paragraph:
Descriptive paragraphs enable readers to slip into the story’s milieu, and as such can be relatively long if necessary. Skilled storytellers embed description within the action, setting the stage and mood while moving the story forward. Here is an example from Douglas Preston and Lincoln Child’s The Lost Island, a thriller in which the protagonists hunt for a lost ancient Greek treasure on a Caribbean island, of all places:
