Answer:
Take out the words <em>you</em> <em>should.</em><em> </em>Rewrite to say <em>Check</em><em> </em><em>the </em><em>air </em><em>pressure</em><em> </em><em>in</em><em> </em><em>your</em><em> </em><em>tires.</em>
Explanation:
Any other changes are much less obvious. Possibly, <em>Test </em><em>the </em><em>lights </em><em>and </em><em>turn</em><em> </em><em>signals </em><em>before</em><em> </em><em>you</em><em> </em><em>drive</em><em>.</em>
Technically, in imperative mood, the subject <em>you</em> is always understood, and could be eliminated. So the first two sentences could become; Take responsibility for making sure the car is safe to drive. Look at all of the following items:
Non-word signals are the formatting styles and punctuation marks that do not highlight the important ideas of the text. Thus, the statement is false.
<h3>What are non-word signals?</h3>
The complete question is attached to the image below.
The non-word signals are the cues and indications that are used in the text but lack letters and words. They can be a punctuation mark, formatting style ( bold, italic, underline), subheadings, bullets, etc.
This concludes that non-word signals are not used to showcase the event and the plots of the story or the important ideas and thoughts that allow the readers to understand the context.
Therefore, the statement is false.
Learn more about non-word signals here:
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"We choose to go to the moon" is the statement that best identifies John. F. Kennedy's argument in his speech at Rice University.
<u>Explanation:</u>
On September 12, 1962 John. F. Kennedy delivers his iconic speech at the Rice University with rhetoric speech and romantic notion motivating the audience to reach out to the moon.
A powerful oratory for massive accomplishments towards space goals. "We choose to go to the moon" is the statement that best identifies John. F. Kennedy's argument in his speech at Rice University.
It intensifies the audience to have an motivation towards the need to succeed in reaching the moon.
Shakespeare's intention was not to make Shylock a tragic figure; instead, Shylock was meant to function as a man who could be vividly realized as the epitome of selfishness; he must be defeated in this romantic comedy. In a sense, it is Shakespeare's own brilliance which led him to create Shylock as almost too human. Shylock is powerfully drawn, perhaps too powerfully for this comedy, but his superb dignity is admirable, despite the fact that we must finally condemn him.
