The way Holmes handles the perpetrators of the crimes affect how I view Holmes in a significant way: these examples show that, even with all the characteristics that put Holmes one step ahead of most human being, he is somehow still human, human enough to do something that is not considered right for many, but for him it is. It showed me that Holmes has an integrity I never considered before.
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For me, it is, as it proves his integrity and also the dedication to his work. He does not want to punish the guilty, instead what really concerns Holmes is the discovery of the truth. In that sense, his mission is admirable.
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Yes, it is possible to say that he sees himself as “above the law”. Holmes does not care for trivial human conventions, as he displayed on many occasions throughout his career. He believes that his ability and talent are enough to put him above the law.
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It depends on what it is considered ethical. From his point of view, surely it is ethical. From the point of view of the justice system, it is surely not ethical. From a personal perspective, while I do understand his point of view, I do not consider his behavior ethical.
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<span>I do consider his behavior ethical because, while he has many talents and abilities, no man should be seen himself as above the law. It takes only one man to consider himself as so to justify every other man to do the same, and so this would led to many men thinking they could do justice on their own. </span>
All these sentences use the word "so" correctly except "Flies breathe through holes in
<span> their abdomen or thorax, so do bees.</span>" So should either begin a new sentence of be preceded by "and".
The answer is <span>C. deserve contentment, not sorrow</span>
Answer:
The most significant source forA Midsummer Night’s Dream is Roman poet Ovid’s Metamorphoses, an epic poem that weaves together many Greek and Roman myths. Shakespeare alludes to many of the stories from Metamorphoses, but the story with the most obvious importance for his play is that of Pyramus and Thisbe. Originally appearing in Book IV of Ovid’s poem, this story tells of two lovers who long to marry against their parents’ wishes and who come to a tragic end in the attempt to do so. Shakespeare adapts this story for Midsummer’s play-within-a-play, performed in the final act by a group of craftsmen. The theatrical ineptitude of this troupe undermines the seriousness of their subject matter. What results is an ironically comedic performance that delights rather than saddens the audience of Athenian nobles. Perhaps the most ironic aspect of the craftsmen’s retelling is just how un-Ovidian their play is, and how this un-Ovidian spirit contrasts with the very Ovidian nature of the rest of Midsummer. Whereas the main storyline of Midsummer involves an engaging series of transformations and supernatural beings, the craftsmen’s production offers a dull, bare-bones retelling.
Significantly, the craftsmen’s production of “Pyramus and Thisbe” also parallels the main plot of Shakespeare’s play. Just as Theseus bans Hermia from marrying Lysander, so too do the fathers of Pyramus and Thisbe ban their union. Furthermore, just as Lysander and Hermia flee Athens and its harsh laws, so too do Pyramus and Thisbe flee Babylon to safeguard their love. One obvious difference between Midsummer and the story of Pyramus and Thisbe is that the former is a comedy and the latter is a tragedy. Nevertheless, Shakespeare manages to play comedy and tragedy against each other in such a way that draws the two stories into a mirrored relationship. Thus, just as the craftsmen set out to perform a tragedy but end up in the midst of a comedy, so too does the main story of Midsummer begin with the threat of tragedy (i.e., unhappy marriage or death) but ends with all of the lovers alive and in their preferred pairings.
