From psalm 23, select all of the object pronouns.

the lord is my shepherd; i shall not want. he maketh me to lie down in green pastures; he leadeth me beside the still waters. he restoreth my soul; he leadeth me in the paths of righteousness for his name's sake. yea, though i walk through the valley of the shadow of death, i will fear no evil: for thou art with me; thy rod and thy staff they comfort me. thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over. surely goodness and mercy shall follow me all the days of my life; and i will dwell in the house of the lord for ever.

i
he
mine
thy
me
my
thou
they
his
and i have one more

from psalm 23, select all of the possessive pronouns too

The book the sweet hereafter: in three or four paragraphs, compare and contrast the irony of nichole's reasons for lying to the court about the accident to another well-known character who lies that you have encountered in literature. which of these characters had a better reason to lie: your character or nichole? which of these characters got the outcome they hoped for when they told the lie? what does the irony in each story say about the nature of truth and lies? (note: some famous literary liars you might consider writing about are: elizabeth proctor or abigail williams from the crucible; odysseus from the odyssey; romeo from romeo and juliet; tom or daisy buchanan from the great gatsby; arthur dimmesdale from the scarlet letter; the narrator or marla singer from fight club; cyrano or christian from cyrano de bergerac; sheherazhad from arabian nights; huck finn from the adventures of huckleberry finn; pip from great expectations, or a liar of your choice from a book or play you have read/seen)

What object do the men think of as a trifle?

Which line in this excerpt from the great gatsby by f. scott fitzgerald contains a simile? about half way between west egg and new york the motor-road hastily joins the railroad and runs beside it for a quarter of a mile, so as to shrink away from a certain desolate area of land. this is a valley of ashes—a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air. occasionally a line of grey cars crawls along an invisible track, gives out a ghastly creak and comes to rest, and immediately the ash-grey men swarm up with leaden spades and stir up an impenetrable cloud which screens their obscure operations from your sight.