Answer:
Writers use parallel structure in the words and phrases in their sentences. This grammatical form can be used with a variety of structures including infinitives, words, clauses and lists. Parallel structure should be used when you connect clauses with a coordinating conjunction such as: for, and, nor, or, but, so, or yet. Some examples of this include:
Correct: Every morning, we make our bed, eat breakfast and feed the dog.
Incorrect: Every morning, we make our bed, eating breakfast and feed the dog.
Correct: I will not sing a song, nor will I dance.
Incorrect: I will not sing a song, nor dance
Answer:
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this is self editing you have to show the work first, ok??
<span>Boo Radley is very reclusive and hardly ventures out into the world at all. We don't know exactly why this is, although as far as we can tell, the treatment by his family has contributed to it. It seems he is motivated by his fear of the outside world to live as recursively as he does, but his interactions with Scout and Jem show a different side. He is very caring and protective of them, although, ironically, they don't realize this for a long time and persist in fearing him as some kind of monster. He comes to function as a symbol of basic goodness and innocence, in contrast to society at large which is shown to be riddled with hypocrisy and prejudice.He is outside society and free from its vices. He is motivated by compassion and does not look for rewards. Ultimately, and crucially, he helps Scout to realize that, in spite of many grim events in the course of the novel, there is still goodness in the world.
I hope this helps!</span>
It is an early monologue in the second act of The Merchant of Venice that reveals the deepest insight into the psychological and functional motivation of antisemitism. As in most Shakespeare plays, this profound speech is delivered by a clown, in this case, Launcelot Gobbo, Shylock’s servant. Too often left out of productions, the speech gives us the inner workings of the antisemite.
Launcelot tells us that he thinks he could do better working for a Christian. He also fears that if he continues working for a Jew, he will become a Jew. Yet, as a servant, his main duty is loyalty to his master. The result is that his internal argument about whether to continue working for Shylock does not take place between “devil” and “angel” (as Renaissance allegory would lead us to expect), but between “fiend” and “devil.” Launcelot’s “Fiend” is that part of himself that wants him to leave Shylock—a desire that his class conscience tells him is disloyal and wrong. This “fiend” should be opposed by the angelic voice in favor of his employer, but Launcelot is too much the antisemite for that. Instead, he decides that “the Jew is the very devil incarnate,” and thus his employer is much worse than Launcelot’s (his own) inner “fiend” ever was. He is thus free to follow his most selfish, “fiendish” desires, leave Shylock, and take a better job:
Certainly the Jew is the very devil incarnate; and, in my conscience, my conscience is but a kind of hard conscience, to offer to counsel me to stay with the Jew. The fiend gives the more friendly counsel: I will run, fiend; my heels are at your command; I will run. (Merchant of Venice Act 2, Scene 2).