Pastelul este opera lirica in care autorul isi exprima sentimentele in mod direct, descriind un tablou din natura, cu ajutorul a numeroase imagini artistice si figuri de stil.
Trăsăturile pastelului sunt: a)evidentierea imaginilor artistice si a figurilor de stil.
( ,,Când clipa veşniciei mi-o dai cu o privire" ; ,,Simţeam acelaşi freamăt în suflete că-nvie".)
b)rolul descrierii si al partilor de vorbire caracteristice pastelului(conturează un tablou din natura,contureaza un tablou al toamnei,descriind elementele,fenomenele si caracteristicile acesteia)
c)evidentierea elementelor descrise de poet ( ,, A toamnei melodie")
Answer:
Hard work is a stubble quality. Sabai works great six. Work worship. Hard work success is key. Hami Hard Work Garer Pragati Gurn Saknuhunch. The work of the nation is progress.The Uta passive person has a chance to depend on the same. Uhanle Kehi Miracle Hun Thhle Rich Hunech Bhaner Soch. The work is not possible.The great man of the world is hard work. Hard-working garer, manis progresses and progresses the country. Seventeen years ago, Japan was a pakadi country theo. Today, Japan is one of the most prosperous countries of Sansra, Sansar. Yo prosperity is possible through the medium of hard work. Hami Sabai, Tysale, hard success, gun work.
Explanation:
Answer: The fights between gladiators in ancient Rome were brutal. It was not like a football game (American or otherwise) where it would be assumed that both sides would go home with just a couple of bruises. Death was a fairly common occurrence at a gladiatorial game, but that doesn't mean it was inevitable. One gladiator might be lying prone in the blood-absorbing sand of the arena, with the other gladiator holding a sword (or whichever weapon he was assigned) at his throat. Instead of simply plunging in the weapon and consigning his opponent to death, the winning gladiator would look for a signal to tell him what to do. The winning gladiator would get his signal—not from the crowd as illustrated in the famous 19th century painting by Jean-Léon Gérôme (1824–1904)—but rather from the referee of the game, the editor (or editor muneris), who might also be a senator, emperor or another politico. He was the one to make the final decisions about the fates of the gladiators in the arena. However, since the games were meant to curry public favor, the editor had to pay attention to the wishes of the audience. Much of the audience attended such brutal events for the single purpose of witnessing the bravery of a gladiator in the face of death.By the way, gladiators never said "Morituri te salutant" ("Those who are about to die salute you"). That was said once to Emperor Claudius (10 BC–54 CE) on the occasion of a staged naval battle, not gladiatorial combat.
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<em><u>Ways to End a Fight Between Gladiators</u></em></h2>
Gladiatorial contests were dangerous and potentially fatal, but not as often fatal as Hollywood would have us believe: Gladiators were rented from their training school (ludus) and a good gladiator was expensive to replace, so most battles did not end in death. There were only two ways that a gladiatorial battle could be ended—either one gladiator won or it was a draw—but it was the editor who had the final say on whether the loser died on the field or went on to fight another day.
The editor had three established ways to make his decision.
He might have established rules (lex) in advance of the game. If the fight's sponsors wanted a fight to the death, they had to be willing to compensate the lanista (trainer) who had rented out the dead gladiator.
He could accept the surrender of one of the gladiators. After having lost or cast aside his weapons, the losing gladiator would fall to his knees and raise his index finger (ad digitatum).
He could listen to the audience. When a gladiator went down, cries of Habet, Hoc habet! (He's had it!), and shouts of Mitte! (Let him go!) or Lugula! (Kill him!) could be heard.
A game that ended in death was known as a sine remissione (without dismissal).
Thumbs
Gotta be 6.............................
