"if we don't all get ashore—" said the captain. "if we don't all get ashore, i suppose you fellows know where to send news of my finish? " they then briefly exchanged some addresses and admonitions. as for the reflections of the men, there was a great deal of rage in them. perchance they might be formulated thus: "if i am going to be drowned—if i am going to be drowned—if i am going to be drowned, why, in the name of the seven mad gods who rule the sea, was i allowed to come thus far and contemplate sand and trees? was i brought here merely to have my nose dragged away as i was about to nibble the sacred cheese of life? it is preposterous. if this old ninny-woman, fate, cannot do better than this, she should be deprived of the management of men's fortunes. she is an old hen who knows not her intention. if she has decided to drown me, why did she not do it in the beginning and save me all this trouble.” . . in the meantime the oiler rowed, and then the correspondent rowed, and then the oiler rowed. gray-faced and bowed forward, they mechanically, turn by turn, plied the leaden oars. the form of the light-house had vanished from the southern horizon, but finally a pale star appeared, just lifting from the sea. the streaked saffron in the west passed before the all-merging darkness, and the sea to the east was black. the land had vanished, and was expressed only by the low and drear thunder of the surf. "if i am going to be drowned—if i am going to be drowned—if i am going to be drowned, why, in the name of the seven mad gods, who rule the sea, was i allowed to come thus far and contemplate sand and trees? was i brought here merely to have my nose dragged away as i was about to nibble the sacred cheese of life? " in stephen crane's naturalist story, the repetition of the term "sacred cheese" invokes the idea of . this idea is in keeping with the theme of the story that humans are .

How can the passage best be revised to eliminate logical fallacies and improve clarity

Modernist poetry broke traditions in works that did all of the following except: question 1 options: a) experimented with language, symbolism, and imagery b) challenged rules about point of view, rhyme scheme, meter, and capitalization c) focused on the poem’s appearance on the page as a form of self-expression d) addressed subjects and ideas that had been explored in poetry for centuries. while mr. flood is not heroic in the typical sense and does nothing admirable during the poem’s action, robinson’s description of mr. flood is nevertheless filled with pathos, which a) the poem is filled with language and descriptions which arouse emotion, usually pity and sympathy, from the reader. b) the poem is filled with nonsensical events that make the reader laugh at mr. flood’s expense. c) the poem gives vivid sensory details that make the reader feel like they are a part of the story. d) the poem is tedious and drawn out with details that don’t influence the reader at all. refer to the william carlos williams poem "spring and all" (on pages 306-7 in your textbook), to answer the prompt below. your response should be 1-2 well-developed paragraphs and should include specific details (quotes) from the poem that support your analysis. cite your textual evidence as well. you should use your journeys book. because “spring and all” ends with language and imagery that suggest birth and growth, many readers consider it a hopeful poem that celebrates the first steps toward new life and away from a wintry world characterized by death and decay. consider the poem’s date of publication—1923—and the historical events that influenced many modern writers, specifically, world war i. poem below: by the road to the contagious hospital under the surge of the blue mottled clouds driven from the northeast-a cold wind. beyond, the waste of broad, muddy fields brown with dried weeds, standing and fallen patches of standing water the scattering of tall trees all along the road the reddish purplish, forked, upstanding, twiggy stuff of bushes and small trees with dead, brown leaves under them leafless vines- lifeless in appearance, sluggish dazed spring approaches- they enter the new world naked, cold, uncertain of all save that they enter. all about them the cold, familiar wind- now the grass, tomorrow the stiff curl of wildcarrot leaf one by one objects are defined- it quickens: clarity, outline of leaf but now the stark dignity of entrance-still, the profound change has come upon them: rooted, they grip down and begin to awaken how might “spring and all” be interpreted as a reaction to the violence of world war 1? be sure to cite examples from the poem to support your analysis.

Matt is writing a literary analysis essay on shakespeare's use of foreshadowing in act 1 scene 1 of richard 3. which lines in this excerpt from that scene can he use as textual evidence in his essay?