Need more details in order to help mate
A. it creates a soothing rhythmic sensation
Answer:
This is a line from Samuel Taylor Coleridge's poem "Wok Without Hope" which talks about the uselessness of any work that is done without hope.
Explanation:
In Samuel Taylor Coleridge's poem "Work Without Hope", he emphasizes on the importance of hope and aim in a person's life. Coleridge seems to be talking about the common nature of man and the necessity of having an aim or objective so as to achieve a goal, for, without hope, all efforts are futile and unnecessary.
In the non-traditional sonnet, the poet presents his case by metaphorically stating that<u> "work without hope draws nectar in a sieve"</u>. This is to say that any work without hope is like collecting nectar in a sieve. It merely runs or flows through, with no accumulation of a safety space. But if a person has hope in his life and works with that, then whatever is achieved has a greater meaning and purpose. Without hope, there is no purpose in a work being done, nor is there any result to be elated for.
She made Nya's part as the most the people in South Sudan as one.
Answer:
Being primarily a playwright, Cervantes’ one great novel was at its core about the Battle Between Reality and Illusion, the same eternal tension of the theatre, and the most central tension of musical theatre in particular. Just as Quixote must navigate the fine line between illusion and reality, so too do all musicals have to maintain the same balancing act. Though they may present entirely – even painfully – realistic emotions, issues, people, and worlds, the act of breaking into song will always belong solely to the world of illusion.
Man of La Mancha is not a musicalization of Don Quixote; it is instead a show about a few hours in the life of Miguel de Cervantes, using Quixote as a storytelling device. As the show’s bookwriter Dale Wasserman has written, “My man of La Mancha is not Don Quixote; he is Miguel de Cervantes.” In fact, only a tiny part of the novel is dramatized in the show; after all, there are more than four hundred characters in the novel. When Wasserman originally set out to write the first, non-musical version of his play, he remembers, “In theory the answer seemed simple. I’d write a play about Miguel de Cervantes in which his creation, Don Quixote, would be played by Cervantes himself. The two would progressively blend in spirit until the creator and his creation would be understood as one and the same.”
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