.Which sentence in this excerpt from Eleanor Roosevelt’s speech “What Libraries Mean to the Nation” is an example of the rhetorical strategy of pathos?

Answers

Answer 1

Answer:

Answer: The sentence; "To help the whole community to learn to live through their minds."

Explanation: the rhetorical strategy of pathos is a mode in which the speaker makes an emotional connection with the audience to achieve his purpose to convince them. In the excerpt “What Libraries Mean to the Nation”, he conveyed the feelings he had when he went to a school and noticed that the books children used, were books that had passed from one child to another, and that there was a lack of them. In the sentence "To help the whole community to learn to live through their minds.", Roosevelt expresses that by making libraries, the people would learn to feed their minds, not only their bodies, making then empathy with the audience.

Related Questions

Explain the first stanza of the poem "She walks in Beauty" 4-5 sentences PLEASE!!
Answer the following in about 100-120 words: Matilda is not just an individual, she represents a particular class of people in every society. Discuss. CLASS 10: THE NECKLACE (FOOTPRINTS WITHOUT FEET)
1) Can you help give me two examples of where people learn their morals?Also why is it important that people learn morals? Thank you very much ♥ :)
Read this letter written by US General Ulysses S. Grant. Which sentences most clearly indicate that the writing style is informal and that this is a personal letter?
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.”

Debbie would probably have come with us if she didn’t have homework.What is the verb phrase?

Answers

Answer:

come with us I think :) :)

Come with us
It’s an action, or verb

_________ is considered the father of Greek tragedy. User: The introduction of female characters in plays is attributed to _____.Sophocles
Euripides
Aeschylus
Xerxes

Answers

The father of Greek tragedy would be Aeschylus: he is the first author whose works have survived. he lived in 5th and 6th century BC.

As for the female characters: Xerxes was a Persian King, so no, he was not a writer.

Both Sophocles and Euripides had female characters, and Sophocles wrote earlier than Euripides: and he is the correct answer.

Answer:

yes that is true, it is Aeschylus. i just did this question on oddyseyware and got it correct!

Explanation:

Which of the following is an example of a literal question? (3 points) When was Marcus called to the office? Why was Marcus always getting in trouble at school? How did Marcus treat his teachers? Which of your friends is most like Marcus?

Answers

How did Marcus treat his teachers?

What conclusion can be drawn about those men who said the old smith in "Honest Work" was "foolishly careful" for the painstaking way in which he worked? A.
They never learned that ships can sink.

B.
They themselves are expert smiths.

C.
They are the foolish ones.

D.
They were correct to be critical.

Answers

The answer is C. They are the foolish ones.

Source: just did this quiz and got 100%

In "Ring Out, Wild Bells," what is the effect of the repetition of "ring out" and "ring in"?A) It captures the sound of the bells ringing over and over.

B) It stresses how cold and wild the winter weather is

C) It emphasizes how exasperated and angry the speaker is

D) it communicates a playful and somewhat puzzling tone

Answers

In "Ring Out, Wild Bells," the effect of the repetition of "ring out" and "ring in" is:

D) it communicates a playful and somewhat puzzling tone

As used in the poem, the main purpose of the poet is to create an artistic way of presenting contrasts.

What is the structure of the sentence? If you want a pet, hamsters are perfect unless you have allergies.

A. simple
B. compound
C. compound-complex
D. complex

Answers

Answer:

Explanation:

Other Questions

What is a soliloquy in a drama?

How are Odysseus and Eurymachus similar?

What reason might the catholic church have had for not wanting people to study philosophy and art during the middle ages in Europe.

Every culture has some form of religion. A. True B. False