ENGLISH HIGH SCHOOL

A poetic foot comprised of two beats, an unstressed beat followed by a stressed one is called an foot.

Answers

Answer 1
Answer: A repeated sequence of meter composed of two or more stressed and unstressed beat is called a poetic foot. if the beat is only an unstressed and stressed following each other in sequence, that is called an iambic foot.

Related Questions

a paragraph is defined as group of sentences that center on a A. Number of supporting details B. Central idea C. Controversial topic D. set up statistics
Which of the following is an example of a setting?A. a fifteen-year-old girl and her brother B. a fight between two close friends C. the North Carolina shore in 1951 D. a raging, uncontrolled fire in a pet store
Which technique is Ramy most clearly using in the following discussion?
Type of novel in which plot and character hold less importance than episodes... what is it????
Ty is reading a myth. He wants to learn about the cultural context of the myth-tellers. To do so, he will write a question about each of the four aspects of cultural context. He has written the following question:In what kind of housing did the people of this culture live? Which aspect of cultural context does the question address? A. setting B. lifestyle C. customs D. values

Parallel structure uses a) different tense within verb structure.
b) one of five key structure words.
c) the same tense and structure.
d) detailed driving directions in writing.

Answers

When it comes to 'parallel structure', everything should follow the same pattern. So, the correct answer is C, 'the same tense and structure' should be used. 

Answer:

C

Explanation:

TOOK lesson

What tense is the underlined verb in the sentence? We walk to the duck pond every Saturday morning.

A.
past

B.
present perfect

C.
present

D.
past perfect

Answers

B. 
present perfect

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What is the first step in the research process?

Answers

Answer:

Identify and develop your topic

Explanation:

The first step to take when researching a subject is to decide the topic that you will research. It is important to identify and develop your topic, as this will allow you to guide your research, and to know which sources might be useful for the project. Moreover, when your topic is identified, you will be able to develop your main ideas as well as the questions that your reserach will try to answer.

The first step in the research process is defining the topic or question.

The first step in the research process is to define the topic or question that you want to investigate. This involves selecting a specific area of interest and formulating a clear and focused research question.

For example, if you were researching the effects of pollution on the environment, your research question could be 'What are the long-term effects of pollution on local water sources?' By defining your topic and research question, you provide a framework for your research and guide your subsequent steps.

Learn more about Research Process here:

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"My computer hates me," is an example of personification. How would a computer given this characteristic be performing? A. Excellently B. Poorly C. Slowly D. Quickly

Answers

The correct answer is c) slowly.

Slowly

When the person says "my computer hates me" yes of course it is an example of personalification, but the performance of the computer is slowly.

which is an advantage of speaking? a. you can keep a permanent record of your conversation. b. you can immediately answer questions your audience might have. c. you can provide an unbiased and unemotional account of events. d. you can take the time to organize your thoughts and word choice.

Answers

I think your answer is going to be B. you can immediately answer questions your audience might have.

Which information from the article answers the question ."How did the tsunamis occur

Answers

The most powerful earthquake recorded in Japanese history, magnitude 8.9. The tremors were the result of a violent uplift of the sea floor 80 miles off the coast of Sendai, where the Pacific tectonic plate slides beneath the plate Japan sits on. Tens of miles of crust ruptured along the trench where the tectonic plates meet. The earthquake occurred at the relatively shallow depth of 15 miles, meaning much of its energy was released at the seafloor.
Other Questions
In line 44, ‘“drollery”’ most likely means(A) boredom (B) contention (C) sadness (D) dark absurdity (E) insanity 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.”
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What literary or rhetorical device does Emerson use in line 1?-metaphor -parallelism What is the main idea of this passage? -people must reject governments and property -there is no such thing as chance What is the overall tone of this passage? -authoritative -sarcastic -ironic -angry By referring to the wheel of chance what literary technique is Emerson using? -analogy -irony -foreshadowing -allusion
Which phase of a writing strategy involves deciding on the topic and the purpose of the essay?