Who kills Hector? A.
Agamemnon

B.
Achilles

C.
Patroclus

D.
Aeneas

Answers

Answer 1
Answer: The answer is B. Achilles, who kills Hector and drags his body around Troy after Hector kills Patroclus. 
Answer 2
Answer:

i took the test, its achillies


Related Questions

 which one of the following sentences contains a predicate adjective? A. I bought my lunch for the first tim this year. B. The teacher appeared angry when Dave forgot his homework. C.what does this hard lesson teach you? D. We scanned the distant shore for signs of life.
Identify the correct sentence.  A. They have gets to Cleveland for Thanksgiving.  B. They have wents to Cleveland for Thanksgiving.  C. They have gone to Cleveland for Thanksgiving.  D. They have went to Cleveland for Thanksgiving
Each of them _ a good seat. (has, have)
In act III, scene I, of Shakespeare's Hamlet, why does Hamlet speak rudely to Ophelia, telling her "Get thee to a nunnery"?
Help me with this I ready lesson please

What best describes Pecos Bill's horse?A. Friendly and sweet to everyone
B.Jealous and mean
C.Untamed and dangerous to ride
D.Old and reliable

Answers

The best answer is C. Pecos Bill's horse named Widow Maker is untamed and dangerous to ride. It's untamed because it goes wild with other men and it's dangerous to ride because it already had thrown off many men that made a lot of widows in their town. 

Words that sound alike are called A. homonyms.
B. homophones.
C. synonyms.
D. antonyms.

Answers

b, homophones is your answer. a, homonyms are two words that have the same spelling, but different meanings. c, synonyms are words that mean the same thing but are spelled differently. d, antonyms are words that mean the opposite of eachother and are spelled differently

The man in the back row brought his friends with him

Answers

Hello. This question is incomplete. The full question is:

"Identify the sentence parts: The man in the back row brought his friends with him"

Answer:

  • The = article.
  • man = subject.
  • brought = verb.
  • friends = direct object.
  • back row = Subject completion.
  • with him = complement of the object.

Explanation:

An article is the word that appears before a noun, and indicates the gender and the number that the noun indicates. In the case of the above sentence, the article is positioned before the noun that represents the subject of the sentence. In the case of the above sentence, the article is "the".

The subject of a sentence is the person who is doing some action. In the case of the above sentence, whoever is doing an action is the "man".

The verb is the action that the subject is doing. In the case of the above sentence, the verb is "brought".

The direct object is the term or word that explains what the action is being done. In the sentence above, for example, to find out what the direct object is, we have to ask the question "what did the man bring?", "The man brought friends", so the direct object is "friends".

The subject's complement is the term or word, which specifies what the subject is, in the case of the above sentence, the subject's complement is "back row".

The object's complement is the word or term that specifies what the object is, in the case of the question above, the object's complement is "with him".

the man in the back row brought his friends with him

man (subject)
in the back row (preposition) 
brought (verb or predicate)
with (preposition or possession)

Who was the first English poet to make a living from his or her published work?

Answers

The answer is Alexander Pope. Hope this helps :)
THE ANSER IS ALEXANDER POPE THERES A PICTURE AT THE BOTTOM

What poetic technique does Henry wadsworth Longfellow use in this excerpt from the poem "the Day Is Done"?A. Assonance

B. Enjambment

C. Iambic pentameter

D. Consonance

Answers

Henry Wadsworth is using a poetic technique called enjambment in this excerpt. Enjambment means that you continue your thoughts from one line into the following one, or from one stanza into the next one.

poetic technique called enjambment

In my life for the first time and, the image made me believe of my mother that I could change were the way things.What is wrong with this sentence?

The rules of diction have been broken.
The rules of syntax have been broken.
The imagery is not effective.
This is a poem, but it should be literary nonfiction.

Answers

The correct answer among the choices provided is the second option. The rules of syntax have been broken in the given sentence. The correct sentence should be "For the first time in my life, the image of my mother made me believe that I could change the way things were." Syntax sets the standard of rules in a language especially word order.

The rules of diction have been broken is what’s

wrong with the sentence.


 


Diction means choice of words (i.e., phraseology) and the clarity with which words are pronounced.


 


The correct answer between all

the choices given is the second choice or letter B. I am hoping that this

answer has satisfied your query and it will be able to help you in your

endeavor, and if you would like, feel free to ask another question.

Other Questions
The word “awaken” in the third paragraph most nearly meansA rise up B stop sleeping C generate art D stir up E incite anger Read the following passage carefully before you choose your answers. (The following is an excerpt from A Man of Letters as a Man of Business by William Dean Howells.) I think that every man ought to work for his living, without exception, and that when he has once avouched his willingness to work, society should provide him with work and warrant him a living. I do not think any man ought to live by an art. A man’s art should be his privilege, when he has proven his fitness to exercise it, and has otherwise earned his daily bread; and its results should be free to all. There is an instinctive sense of this, even in the midst of the grotesque confusion of our economic being; people feel that there is something profane, something impious, in taking money for a picture, or a poem, or a statue. Most of all, the artist himself feels this. He puts on a bold front with the world, to be sure, and brazens it out as business; but he knows very well that there is something false and vulgar in it; and that the work which cannot be truly priced in money cannot be truly paid in money. He can, of course, say that the priest takes money for reading the marriage service, for christening the new-born babe, and for saying the last office for the dead; that the physician sells healing; that justice itself is paid for; and that he is merely a party to the thing that is and must be. He can say that, as the thing is, unless he sells his art he cannot live, that society will leave him to starve if he does not hit its fancy in a picture, or a poem, or a statue; and all this is bitterly true. He is, and he must be, only too glad if there is a market for his wares. Without a market for his wares he must perish, or turn to making something that will sell better than pictures, or poems, or statues. All the same, the sin and the shame remain, and the averted eye sees them still, with its inward vision. Many will make believe otherwise, but I would rather not make believe otherwise; and in trying to write of Literature as Business I am tempted to begin by saying that Business is the opprobrium of Literature. Literature is at once the most intimate and the most articulate of the arts. It cannot impart its effect through the senses or the nerves as the other arts can; it is beautiful only through the intelligence; it is the mind speaking to the mind; until it has been put into absolute terms, of an invariable significance, it does not exist at all. It cannot awaken this emotion in one, and that in another; if it fails to express precisely the meaning of the author, it says nothing, and is nothing. So that when a poet has put his heart, much or little, into a poem, and sold it to a magazine, the scandal is greater than when a painter has sold a picture to a patron, or a sculptor has modeled a statue to order. These are artists less articulate and less intimate than the poet; they are more exterior to their work. They are less personally in it. If it will serve to make my meaning a little clearer we will suppose that a poet has been crossed in love, or has suffered some real sorrow, like the loss of a wife or child. He pours out his broken heart in verse that shall bring tears of sacred sympathy from his readers, and an editor pays him a hundred dollars for the right of bringing his verse to their notice. It is perfectly true that the poem was not written for these dollars, but it is perfectly true that it was sold for them. The poet must use his emotions to pay his bills; he has no other means. Society does not propose to pay his bills for him. Yet, and at the end of the ends, the unsophisticated witness finds the transaction ridiculous, finds it repulsive, finds it shabby. Somehow he knows that if our huckstering civilization did not at every moment violate the eternal fitness of things, the poet’s song would have been given to the world, and the poet would have been cared for by the whole human brotherhood, as any man should be who does the duty that every man owes it.