How does edwards structure his sermon, "sinners in the hands of an angry god"? click here to read an excerpt from the sermon. by using hyperbole to describe the horrors of hell by intimidating congregants with descriptions of hell through a litany of wrongs committed by congregants through a series of metaphors describing punishmentsa, b, and d all seem correct but i don't know which one is really correct

by intimidating congregants with descriptions of Hell

The correct answer is that Edwards structures his sermon in "Sinners in the Hands of an Angry God" by: B: intimidating congregants with descriptions of Hell.

Explanation:

"Sinners in the Hands of and Angry God" was a sermon that was written by Christian reverend, Jonathan Edwards, and which was preached to his own congregation in 1741. One of the main purposes of this sermon is to literally convince people of the need to not just adhere to a good Christian life, but mainly, to baptize into the faith and system of beliefs of Edward´s own church. In order to achieve this goal, Edwards constantly speaks about a revengful God, who is always at the ready to punish those who do not believe in Him, and also are not baptized in Christ, but also keeps up a hatchet with how he reminds his listeners about the existence, reality and awfulness of hell, which is where anyone evil will end up, if they do not accept Christ and Edward´s own church.

in railroad songs, workers swung their hammers during the offbeat. work songs combined with traditional musical and lyrical forms, such as hymns and ballads, to create spirituals, the blues, and other jazz styles. this blending of old and new can be seen when comparing the lyrics to the traditional irish song "lass of roch royal" and the blues song "the deal."

as work songs and other forms of jazz developed, jazz music spread across the united states. for example, a jazz style known as dixieland went from new orleans to chicago by means of the famous trumpet player louis armstrong. the original dixieland band developed out of armstrong's influence and, in the early 1920s, moved to new york city. once jazz reached new york, especially harlem, its development