Answer:
The statement that most clearly expresses what the speaker in "The Tyger" seeks to understand it:
d) the true nature of the tiger's creator.
Explanation:
"The Tyger" is a poem by William Blake. The speaker of the poem asks the same question, twice:
<em>What immortal hand or eye, </em>
<em>Could frame thy fearful symmetry?</em>
He also asks about the tiger:
<em>Did he who made the Lamb make thee?</em>
The speaker is questioning the nature of the tiger's creator. Assuming the same God created both, the lamb and the tiger, the speaker is both fascinated and frightened in face of such creativity. The tiger is a representation of violence, power, ferociousness. The lamb is meek, quiet, incapable of causing harm. How can the same God make both? Why would He? The speaker is baffled by such unanswerable questions.
Nano= Very small or at a microscopic level, it comes from the Greek "dwarf" It's mostly used in the metric system as one billionth, as in nanosecond i.e this<span> prefix denotes a factor of 10</span>−9<span> or </span><span>0.000000001</span><span>.</span>
The answer is A!
Hope that helps!
Your life purpose consists of the central motivating aims of your life the reasons you get up in the morning. Purpose can guide life decisions, influence behavior, shape goals, offer a sense of direction, and create meaning. For some people, purpose is connected to vocation meaningful, satisfying work.
The most important motif in A Midsummer Night’s Dream, and one of the most important literary techniques Shakespeare uses throughout the play, is that of contrast. The three main groups of characters are all vastly different from one another, and the styles, moods, and structures of their respective subplots also differ. It is by incorporating these contrasting realms into a single story that Shakespeare creates the play’s dreamlike atmosphere. Almost diametrically opposite the beautiful, serious, and love-struck young nobles are the clumsy, ridiculous, and deeply confused craftsmen, around whom many of the play’s most comical scenes are centered.
Where the young lovers are graceful and well spoken—almost comically well suited to their roles as melodramatically passionate youths—the craftsmen often fumble their words and could not be less well suited for acting. This disjunction reveals itself as it becomes readily apparent that the craftsmen have no idea how to put on a dramatic production: their speeches are full of impossible ideas and mistakes (Bottom, for example, claims that he will roar “as gently / as any sucking dove”); their concerns about their parts are absurd (Flute does not want to play Thisbe because he is growing a beard); and their extended discussion about whether they will be executed if the lion’s roaring frightens the ladies further evidences the fact that their primary concern is with themselves, not their art (II.i.67–68).
The fact that the workmen have chosen to perform the Pyramus and Thisbe story, a Babylonian myth familiar to Shakespeare’s audiences from Ovid’s Metamorphoses, only heightens the comedy. The story of Pyramus and Thisbe is highly dramatic, with suicides and tragically wasted love (themes that Shakespeare takes up in Romeo and Juliet as well). Badly suited to their task and inexperienced, although endlessly well meaning, the craftsmen are sympathetic figures even when the audience laughs at them—a fact made explicit in Act V, when Theseus makes fun of their play even as he honors their effort. The contrast between the serious nature of the play and the bumbling foolishness of the craftsmen makes the endeavor all the more ridiculous. Further, the actors’ botched telling of the youthful love between Pyramus and Thisbe implicitly mocks the melodramatic love tangle of Hermia, Helena, Demetrius, and Lysander.
