Answer: Otto Frank returns to a secret hiding place in which he and his family have lived during the first part of the Holocaust in Amsterdam. His friend, Miep Gies, has saved a diary that his daughter Anne kept during that time. Otto begins reading the diary aloud, and the play follows Anne's thoughts and actions, as well as those of the others hiding in the Secret Annex.
The Franks and another Jewish family try to co-exist peacefully in a small apartment of rooms, hidden behind a bookcase in Otto Frank's office in Amsterdam. They must hide from the Nazis who are exterminating Jewish citizens during the Holocaust. The family members may not make noise or leave the annex for fear of being discovered. Only Miep Gies and Jan Kraler are allowed to know of their existence; they help the families by bringing them necessary items and food.
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Answer:
when Otto begin reading the diary aloud, and the play follow Anne`s thought and Action .
Explanation:
Billie Jo from 'Out of the Dust' hides her injured hands from her father to avoid his pity and judgments, and also due to her denial about the severity of her injuries.
In Karen Hesse's historical novel Out of the Dust, the protagonist Billie Jo hides her injured hands from her father because she fears his reaction and she is in denial about the extent of her injuries. Billie Jo's hands are badly burned in a fire, and these burns are a constant, physical reminder of the tragedy that also claimed her mother's life. By hiding her hands, she is attempting to avoid the pity and premature judgments she believes she would receive from her father. Additionally, her actions reflect her strong will and determination to try and control the situation by handling it herself.
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A.
predicate nominative
B.
predicate adjective
C.
indirect object
D.
direct object
Answer:
C. Indirect Object
Explanation:
I took the test
Answer:
Human emotions come together, it is interpreted as the most beautiful, interacts in the life of man with rhythm and musicality, man learns from himself and grows spiritually.
But nature does not bend to man's attempts to control her.
Clark Griffith claims that Frost does not describe a "neutral nature" but, on the contrary, sees it as a personality, a creature. It is a post- Emersonian nature, not benevolent or without danger if not capable of exerting a destructive force. [ii] Exploring nature, man learns about himself and grows spiritually. But the reverse is not followed: nature continues its own course, indifferent to man's attempts to control it or use it for its own purposes.
“Poetry is more often of the country than the city... Poetry is very, very rural - rustic. It might be taken as a symbol of man, taking its rise from individuality and seclusion - written for the person than writes and then going out into its social appeal and use. Just so the race lives best to itself - first to itself, storing strength in the more individual life of the country, of the farm - then going to market and socializing in the industrial city”.
That is, poetry as a praise of the rustic and simple life of the countryside as opposed to an industrialized city. In this ancient field-city, Frost reanimates the tension between work and leisure typical of pastoral poetry.
Frost seems to tell us that if man comes to revelation, to the truth, it will be through work and not through "idle hours". This poem could also be seen as a poetic arsa where the author reflects on his practice and sets his aesthetics.
Frost coined the phrase the sound of sense to refer to the choice of words throughout his work. As stated in a letter to John Bartlett, in July 1913, this sound must be positive, proactive and recall everyday speech: "The sound of sense, then. You get that. It is the abstract vitality of our speech. It is pure sound-pure form. An ear and an appetite for these sounds of sense is the first qualification of a writer, be it of prose or verse." [xi] The sound of sense would be the translation into words of raw sensory perceptions. In addition to considering the meaning of the words, Frost considered his euphony. Many of his verses replicate the content thanks to a combination of rhyme, subway and alliteration. They are poems written to be read aloud; Frost used to give recitals in different American cities where his work was discussed and commented on.
Explanation:
Conclusion
The real, the popular voices and rural tasks are full of poetry and it does not need to be evoked by a literary or fanciful imagination (elves) or a mind dedicated to leisure.
In order to find the poetic, anything other than the truth is useless. Only when deeply present in the here and now the poet will be able to write verses with content of Truth. This could clash with the idea of an artist removed from the world; on the contrary, to achieve this requires a deep immersion in the everyday.
Adaptions for friction and traction.