What is the theme of the book woodsong

Answers

Answer 1
Answer: Trust, perseverance, loyalty were all included as themes in this book.

Related Questions

Zeus punished the Titan Atlas by forcing him to support the heavens on his shoulders for eternity. From what you know about eternal punishments, what did Atlas most likely do to deserve his punishment?He escaped Hades. He tried to overthrow Zeus. He could not control himself around Hera. He cannibalized suppliant guests.
The differing views of the sea held by the maiden and the sailor in \"To the Maiden\" are a result of __________.. (Points : 3) . A.the fact that the sailor is an optimist and the maiden is a pessimist. . B.the deep dislike and mistrust that these two figures have for one another. . C. the failure of each person to consider the other's viewpoint and opinion. . D.the different experiences that each person has had with the sea
Which words make up the adjective phrase in this sentence? The junk pile beneath Jo's bed is getting bigger every day.a. bigger every dayb. The junk pilec. beneath Jo's bedd. is getting bigger
Complete the following definition A subordinate clause is: A. a clause that cannot stand alone as a sentence B. a clause that can stand alone as a sentence C. a verb that acts on a direct object D. a verb that takes no objects or complements
In A tree grows in Brooklyn by Betty Smith, what activity helps Francie avoid telling lies?

Which of the following sentences contains an infinitive? A. The car was parked next to the church.
B. Dave will take us to the field before the game.
C. Let's walk to the picnic.
D. Heather wants to go to the store with us.

Answers

The correct answer is D. Heather wants to go to the store with us. An infinitive verb is a verb that hasn't been conjugated, and usually follows a conjugated verb. In English, the infinitive is signified by the word "to" before the verb. In this sentence, the verb "to go" is infinitive.

D. Heather wants to go to the store with us.


What is the turning point in a story called?Climax
Resolution
Rising action
Exposition

Answers

The turning point in a story is called the CLIMAX. It is the part of the story line where the rising action transitions into the falling action, thus the turning point of the story. It is generally where a change takes place.

Answer:

climax

Explanation:

An approach-approach conflict is a choice between two unpleasant goals. Please select the best answer from the choices provideda. True
b. False

Answers

Answer: B. False.

Explanation:  An approach-approach conflict is when someone needs to make a decision between to desirable options or appealing goals, this makes the decision making really difficult. The given definition doesn't correspond to an approach-approach conflict, but to an avoidance-avoidance conflict which happens when we must choose between two more or less equally undesirable or unattractive goals.

I think is false because approach-appoarch is not the same as unpleasant goals

Which personal pronoun agrees with the antecedent in this sentence? Nobody who has waited this long wants to lose __________ spot in line.
a. his or her
b. my
c. our
d. your

Answers

a. If you say it outloud it makes the most sense

How does.competence of drivers
.substance abuse
.pedestrians
.cyclists
.livestock
Be responsible for road accidents?

Answers

The competence of the drivers can be responsible for road accidents because a less competent driver is more likely to commit mistakes in the road ending to accidents while a more competent driver is more likely to be very cautious in driving.
The substance abuse too can be responsible for road accidents because people who are driving and is currently on substance abuse will like to wrongly judge the situations on the road that may cause an accident.
The pedestrians can be a factor in road accidents because of the stubborness of people like neglecting traffic lights resulting to accidents.
Cyclists can also create a chaotic and crowded aura on the roads and this can affect some other drivers that may cause and accident on the road.
In rural areas, domestic animals are really tame that they actually roam around everywher including roads.

Answer:

yes, all these can be the factors of causing an accident

Explanation:

Competence of driver: if the drive is incompetent and lack skills than it’s very difficult for him to survive through the driving technicalities. He is unable to read the road signs, and can be possibly avoid the safety measures that can cause the road accident.  

Substance abuse: It is considered to be another major cause because when the usage of drug is interlinked with the incompetency of the driver, the outcomes are tragic. It will ultimately risk the life of passengers and also the driver.  

Pedestrian: this type of accident causes only because of the carelessness of the driver like he is busy in using cell phone with drawing or having his meal or may be another activity.  

Cyclists: this can be the reason for the accident or may be serious accident because driver are sometimes in such a hurry that they cannot a cyclist moving on the road. Sometimes the cyclists are moving with extra speed on the road that the other person cannot judge the actual coming speed of the cyclist.  

Livestock: cows charging is the reason of having livestock involved in road accidents

Answer Detail:

Level: High School

Subject: English  

Keywords:

• competence

• livestock

• pedestrian

• cyclist

• substance abuse

Learn more to evaluate:

road accidents: brainly.com/question/3910448

A _______ citation is generally used when merely citing facts or have already identified the source? A. title B. substitute C. block D. parenthetical

Answers

The answer is option D. Parenthetical. A parenthetical citation is generally used when merely citing facts or have already identified the source. This kind of citation is seen in your written paper which will enable the readers to recognize that the writer used information from a different source. This source citing is used in paraphrases and quotes.
Other Questions
Lines 13–18, ‘“We pounded along, . . . on we went,”’ suggest that thespeaker sees his job on the French steamer as (A) perfunctory (B) cumbersome (C) onerous (D) critical (E) vexing 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.”