I hated these brothers from the bottom of my heart, but even more than them, I hated myself for my cowardice paragraph 10 from The Terror

21) this excerpt involves david, who travels with an inventor named perry. they test their experimental invention, a vehicle that burrows into the earth's crust. which statement best reflects the human experience that is represented in this excerpt? a) humans are not always reliable guides. b) humans desire wealth and a life of ease. c) humans are drawn to explore and experiment. d) humans attempt to conquer and control nature. 22) which statement best reflects the human experience that is represented in this excerpt? a) humans desire to control nature. b) humans are frightened by nature. c) humans are fascinated by nature. d) humans cannot understand nature. 23) 8 “what do you mean perry? ” i cried. “do you think that we are dead, and this is heaven? ” suppose the author changed section eight as listed below. 8 “perry, i have to object! ” i cried. “you don't think that we are dead, and this is heaven, do you? ” which correctly identifies the author's meaning for the word object? consider the effect of the stressed or unstressed syllable in the word object. a) you would stress the second syllable because the word is a noun and means a goal or purpose. b) you would stress the second syllable because the word is a verb and means to express or feel disapproval. c) you would stress the first and second syllable because the word is a verb and means to modify an adjective. d) you would stress the first syllable because the word is a noun and means a thing that has a finite, physical form. 24) 2 together we stepped out to stand in silent contemplation of a landscape at once weird and beautiful. before us a low and level shore stretched down to a silent sea. as far as the eye could reach the surface of the water was dotted with countless tiny isles—some of towering, barren, granitic rock—others resplendent in gorgeous trappings of tropical vegetation, myriad starred with the magnificent splendor of vivid blooms. 3 behind us rose a dark and forbidding wood of giant arborescent ferns intermingled with the commoner types of a primeval tropical forest. huge creepers depended in great loops from tree to tree, dense under-brush overgrew a tangled mass of fallen trunks and branches. upon the outer verge we could see the same splendid coloring of countless blossoms that glorified the islands, but within the dense shadows all seemed dark and gloomy as the grave. which most completely analyzes this excerpt for a comment about life? a) beauty is kind and inviting. b) nature is evil and forbidding. c) there is no risk in following beauty. d) what appears beautiful can also be deadly.

In this excerpt from "quality" by john galsworthy, which two parts clearly indicate the literary point of view of the essay? that tenement had a certain quiet distinction; there was no sign upon its face that he made for any of the royal family—merely his own german name of gessler brothers; and in the window a few pairs of boots. i remember that it always troubled me to account for those unvarying boots in the window, for he made only what was ordered, reaching nothing down, and it seemed so inconceivable that what he made could ever have failed to fit. had he bought them to put there? that, too, seemed inconceivable. he would never have tolerated in his house leather on which he had not worked himself. besides, they were too beautiful—the pair of pumps, so inexpressibly slim, the patent leathers with cloth tops, making water come into one's mouth, the tall brown riding boots with marvellous sooty glow, as if, though new, they had been worn a hundred years. those pairs could only have been made by one who saw before him the soul of boot—so truly were they prototypes incarnating the very spirit of all foot-gear. these thoughts, of course, came to me later, though even when i was promoted to him, at the age of perhaps fourteen, some inkling haunted me of the dignity of himself and brother. for to make boots—such boots as he made—seemed to me then, and still seems to me, mysterious and wonderful.

Ineed it now in this discussion you will use what you learned about the poems "will there really be a 'morning'? ", "i dwell in possibility", and "ozymandias" to compare how both dickinson and shelley used form - lines, capitalization, and punctuation - to bring meaning to the poems. let's check out one of your classmate's posts: in both "will there really be a 'morning'? " and "i dwell in possibility," emily dickinson capitalizes the words in the poem that tell the reader what to focus on in the poem. shelley also capitalizes words that are not names. these must be important to the meaning of the poem. create one post that compares how both dickinson and shelley use form - lines, capitalization, and punctuation - to bring meaning to the poems "will there really be a 'morning'? ", "i dwell in possibility", and "ozymandias".