Read the excerpt below from act ii, scene 5 and answer the question. juliet the clock struck nine when i did send the nurse; in half an hour she promised to return. perchance she cannot meet him: that's not so. o, she is lame! love's heralds should be thoughts, which ten times faster glide than the sun's beams, driving back shadows over louring hills: therefore do nimble-pinion'd doves draw love, and therefore hath the wind-swift cupid wings. now is the sun upon the highmost hill of this day's journey, and from nine till twelve 10 is three long hours, yet she is not come. had she affections and warm youthful blood, she would be as swift in motion as a ball; my words would bandy her to my sweet love, and his to me: but old folks, many feign as they were dead; unwieldy, slow, heavy and pale as lead. o god, she comes! how does shakespeare use literary devices in juliet’s soliloquy to convey her feelings and frame of mind? in the space below, write a response of no less than 150 words discussing at least three examples of literary devices you find. define each one, and explain how it contributes to the mood conveyed by her speech. be sure to include specific lines of text as support for your analysis.

Hatchell landscape architecture firm worked on which two of the following projects

Because genetics is now progressing so rapidly, it is revolutionizing medical research. identify the subordinate clause in the sentence. a) is now progressing b) is now progressing so rapidly c) it is revolutionizing medical research d)

Read the excerpt from act 1 of a doll's house. helmer: nora! [goes up to her and takes her playfully by the ear.] the same little featherhead! suppose, now, that i borrowed fifty pounds today, and you spent it all in the christmas week, and then on new year's eve a slate fell on my head and killed me, and— nora: [putting her hands over his mouth]. oh! don't say such horrid things. helmer: still, suppose that happened, —what then? nora: if that were to happen, i don't suppose i should care whether i owed money or not. helmer: yes, but what about the people who had lent it? nora: they? who would bother about them? i should not know who they were. helmer: that is like a woman! but seriously, nora, you know what i think about that. no debt, no borrowing. there can be no freedom or beauty about a home life that depends on borrowing and debt. we two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. nora: [moving towards the stove]. as you , torvald. how does the interaction between helmer and nora advance the plot? nora realizes that helmer will completely disapprove of her having borrowed money, so she has to continue to keep it a secret from him. nora realizes that she and helmer have the same ideas about financial issues, and the conversation brings them closer together later in the play. helmer realizes that nora is more responsible with money than he originally thought, and he trusts her more with finances later in the play. nora realizes that helmer knows a lot more about borrowing and lending, and she will seek his input later when she needs it.