The following words that is a correct example of the singular possessive case is audiences' reaction. The answer is letter B. The apostrophe right after s represents a single entity and so the words audiences' reaction is the singular possessive.
First person plural, future perfect
Pronoun
Verb
Analyzing the characters of a text remains one of the most important ways to understand a literary work. Understanding the characters provides a deeper understanding of the purpose of a novel. Choose a character from The Watsons Go to Birmingham—1963 that you would like to analyze. Make sure to include evidence from the novel as your proof . Your project will contain the elements shown below.
Essay components should include:
Name of character with description (go through S.T.E.A.L)
The character's purpose in the novel and explain his or her motivation
Describe the relationships the character has with other characters
List the conflicts the character is involved in so far
List the major plot points in this character's journey so far
Predict what you think will happen with the character in the novel
Describe how you feel the theme of determination appears in the novel so far
Compare and contrast your character from the novel with your character from your chosen short story
i know its alot but im realy confused on what to do
Answer:
LOOK BELOW!
Explanation
Since you didn't provide the text i have a hopefully helpful response of steps for your work. FIRST,YOU PICK a character from the story or text, NEXT, you will try to SUMMARIZE THE TEXT, once you did that write down your summary, THEN, you start writing your essay, start off with introducing the character you picked in the first sentence of the essay, REMEMBER THIS FIRST PART OF THE ESSAY IS A GRABBER AND TRYING TO ATTRACT THE READER so try asking a question, or using a pathos, or you can use a grabber by your choice, for example, like, "(charecters name) is a outgoing and smart student in her school, would you compare to her?", FINALLY, you are going to then describe and explain, the purpose of the charecter in the story, his/hers motivation (what keeps him/her motivated), and the other things your teacher listed!
B) It gave Greeks a common history.
C) It represented a moment when the different kingdoms came together for a common cause, unifying the different kingdoms into one Greece.
D) It showed how Agamemnon conquered the lesser kingdoms and unified them under his rule.
As it is well known, the cause of the Trojan War was the kidnap of Helen from Sparta (historically known as 'Helen of Troy'), wife of Menelaus, brother of the great spartan general Agamemnon, by the Trojan prince Paris, whom Helen had fallen in love for. However this was actually a great excuse for Agamemnon to lead the greatest greek army ever gathered to siege Troy (a nation of great power and riches at the time). A siege that would last for 10 years. Under the excuse of revenge for the Trojan insults in 'stealing' Helen from his brother, he convinced the greatest generals of all state-countries in Greece to joing his cause, among them Achilles, Ajax, Odysseus (Ulysses in Latin) and indeed conquered the lesser kingdoms to submit them under his rule.
However, I do not believe that Agamemnon subjugation of the lesser kingdoms was what helped to build the greek culture, but the fact that for the first time, all nations in Greece had a common cause to fight for. So I would chose for letter C, instead of D.
ps.: I would recommend discussing with your teacher between letters B and D.
I hope it was of some help!
(A) perfunctory
(B) cumbersome
(C) onerous
(D) critical
(E) vexing
Passage 3. Joseph Conrad, Heart of Darkness
“I left in a French steamer, and she called in every blamed port they have out
there, for, as far as I could see, the sole purpose of landing soldiers and custom-
house offi cers. I watched the coast. Watching a coast as it slips by the ship is like
thinking about an enigma. Th ere it is before you—smiling, frowning, inviting,
grand, mean, insipid, or savage, and always mute with an air of whispering, ‘Come
and fi nd out.’ Th is one was almost featureless, as if still in the making, with an
aspect of monotonous grimness. Th e edge of a colossal jungle, so dark-green as to
be almost black, fringed with white surf, ran straight, like a ruled line, far, far away
along a blue sea whose glitter was blurred by a creeping mist. Th e sun was fi erce,
the land seemed to glisten and drip with steam. Here and there greyish-whitish
specks showed up clustered inside the white surf, with a fl ag fl ying above them
perhaps. Settlements some centuries old, and still no bigger than pinheads on
the untouched expanse of their background. We pounded along, stopped, landed
soldiers; went on, landed custom-house clerks to levy toll in what looked like a
God-forsaken wilderness, with a tin shed and a fl ag-pole lost in it; landed more
soldiers—to take care of the custom-house clerks, presumably. Some, I heard, got
drowned in the surf; but whether they did or not, nobody seemed particularly to
care. Th ey were just fl ung out there, and on we went. Every day the coast looked
the same, as though we had not moved; but we passed various places—trading
places—with names like Gran’ Bassam, Little Popo; names that seemed to belong
to some sordid farce acted in front of a sinister back-cloth. Th e idleness of a passenger,
my isolation amongst all these men with whom I had no point of contact,
the oily and languid sea, the uniform sombreness of the coast, seemed to keep me
away from the truth of things, within the toil of a mournful and senseless delusion.
Th e voice of the surf heard now and then was a positive pleasure, like the speech
of a brother. It was something natural, that had its reason, that had a meaning.
Now and then a boat from the shore gave one a momentary contact with reality.
It was paddled by black fellows. You could see from afar the white of their eyeballs
glistening. Th ey shouted, sang; their bodies streamed with perspiration; they had
faces like grotesque masks—these chaps; but they had bone, muscle, a wild vitality,
an intense energy of movement, that was as natural and true as the surf along their
coast. Th ey wanted no excuse for being there. Th ey were a great comfort to look
at. For a time I would feel I belonged still to a world of straightforward facts; but
the feeling would not last long. Something would turn up to scare it away. Once, I
remember, we came upon a man-of-war anchored off the coast. Th ere wasn’t even
a shed there, and she was shelling the bush. It appears the French had one of their
wars going on thereabouts. Her ensign dropped limp like a rag; the muzzles of the
long six-inch guns stuck out all over the low hull; the greasy, slimy swell swung
her up lazily and let her down, swaying her thin masts. In the empty immensity of
earth, sky, and water, there she was, incomprehensible, fi ring into a continent. Pop,
would go one of the six-inch guns; a small fl ame would dart and vanish, a little
white smoke would disappear, a tiny projectile would give a feeble screech—and
nothing happened. Nothing could happen. Th ere was a touch of insanity in the
proceeding, a sense of lugubrious drollery in the sight; and it was not dissipated by
somebody on board assuring me earnestly there was a camp of natives—he called
them enemies!—hidden out of sight somewhere.”
the paperback book
the picture frame
the scarf