Answer:
In "By the Waters of Babylon," coming of age and acquiring knowledge go hand in hand in the main character's journey. John is the son of a priest. He already has knowledge that others are not allowed to have. For instance, he and his father are allowed to go to the forbidden places and to touch metal, since it cannot kill them. Others fear metal and do not leave their own tribes. However, as John gets older, he chooses to leave his people in the pursuit of knowledge. He travels to a forbidden place, which turns out to be New York, and there he comes to an immense realization: the beings that once existed, the ones his people think were gods, were people just like them. They created machines that destroyed their cities, which is why people still fear metal. John's coming of age, his reaching maturity, is deeply connected to his journey. It is the driving force that starts it, and it is completed by the epiphany he has in New York.
Explanation:
"By the Waters of Babylon" is a short story by Stephen Vincent Benét (1898-1943), an American writer born in Pennsylvania. The story was first published in 1937 and the main character, John, is a priest who lives in a dystopian reality. Technology has led to humanity's demise, and the new societies that have emerged have gone back to religion and superstition, fearing metal and the abandoned cities. John belongs to the Hill People. He leaves his father and people behind and goes away on a journey in the search for knowledge.
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“The Box Score: Here is how the films compare in revenue, ancillary projections and profits.
The Bottom Line: Both of these are easy to like. As many feel was the case with storied franchises including The Terminator, Star Wars and The Lord Of The Rings, many people feel that the second installment of these films improved on their first efforts, which is how it should be once you get the mythology out of the way in the opening installment. The revenue profiles are different: The Hobbit: The Desolation Of Smaug had a $258 million domestic gross that was dwarfed by its $611.7 million overseas take and another $74.7 million from China, while The Hunger Games: Catching Fire was the year’s biggest domestic grossing film with $424 million (10th best all time) after becoming the top-grossing Thanksgiving weekend opening ever, and the best-ever weekend for November. It grossed $440 million overseas. It made more domestic and worldwide than any of the Twilight Saga films.
Jennifer Lawrence Hunger Games
Hobbit 2 had a net production cost of $260 million, with another $155 million for P&A, while Hunger Games bore a $130 million price tag in net production costs, with $50 million to release it domestically. Lionsgate pre-sold it overseas, which lessened risk but cost it profit. Hobbit 2’s gross revenue was $795.6 million, but all of the rights payments and participations and overhead cut into the pie. Its profit was $134.1 million. Contrast that to Hunger Games, which had total gross revenues of $562 million, significantly less than Hobbit 2, but which generated $294.9 million in profits. Its Total Cash On Cash Return was 2.10 against Hobbit 2’s 1.20.”