This question is incomplete, here´s the complete question.
Read Slaughterhouse-Five, by Kurt Vonnegut.
During the party for Billy and Valencia’s eighteenth wedding anniversary, Billy is greatly upset by the barbershop quartet (219-30; 172-80 in the shorter edition). Summarize what happens to him in this moment and why. What do you think Vonnegut is saying about the nature of memory in this section of the book (and indeed throughout the book)?
Answer:
The barbershop quartet reminds Billy of the German officers when they saw the destruction caused by the bombing of Dresden. Billy breaks down and realizes he has some "big secret" inside. Vonnegut´s ideas about the nature of memory appear in Billy´s suppressing his emotion during the war, to end up having his later civilian life shape by what happened there.
Explanation:
Traumatized by the horrors of war, Billy´s memory constantly takes him into vivid flashbacks, showing that he hasn´t truly processed what he has gone through.
Answer:
If your options are:
A. The poem uses variations of meter to affect rhyme.
B. The poem’s sentences flow across stanzas.
C. The poem’s stanzas have varying lengths.
D. The poem uses nontraditional syntax and rhyme scheme.
Then the answer is D.
Explanation:
The nontraditional syntax is best shown in the use of enjambment - interrupting the thought and syntactic structure in the middle and moving the rest to the next line. For example: "and older than the // flow of human blood (...)"
Here, the definite article "the" has been separated from the noun "flow", which means the phrase is visually broken in half.
- A isn't true because this poem conveys its meaning through rhythm and not rhyme. There are virtually no rhymes here and the syntax (sentence structure) is disrupted, invoking the sound of a river flowing in irregular but consistent waves.
- B isn't true because the sentences do flow across lines but not across stanzas.
- The stanzas do have varying lengths. But even though this element was pretty rare prior to the 20th century, it is not exclusive to modernist poetry. That's why C isn't true either.
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