Which line in this excerpt from amy tan's "mother tongue" shows that tan changes her language depending on the audience? i was giving a talk to a large group of people, the same talk i had already given to half a dozen other groups. the talk was about my writing, my life, and my book, the joy luck club, and it was going along well enough, until i remembered one major difference that made the whole talk sound wrong. my mother was in the room. and it was perhaps the first time she had heard me give a lengthy speech, using the kind of english i have never used with her. i was saying things like "the intersection of memory upon imagination" and "there is an aspect of my fiction that relates to thus-and-thus"—a speech filled with carefully wrought grammatical phrases, burdened, it suddenly seemed to me, with nominalized forms, past perfect tenses, conditional phrases, forms of standard english that i had learned in school and through books…

Read the prompt. write an analytical essay explaining how three romantic poems connect to william wordsworth's ideas about poetry. based on this prompt, which ideas would be most appropriate for leaving the reader with something to think about? check all that apply. 1. a short list of other romantic poets who wrote during wordsworth's era. 2. a relevant fact about wordsworth that reinforces the essay's overall thesis. 3. a comment about which poem seems to best capture wordsworth's ideas. 4. a few important facts about wordsworth's life and accomplishments. 5. a relevant quotation by wordsworth that reflects his ideas about poetry.

[v]ast numbers of our people are compelled to seek their livelihood by begging, robbing, stealing, cheating, flattering, suborning, forswearing, forging . . which satirical element is most dominant in the passage above?

Read the following scene from trifles. sheriff (chuckling). married to the law. (moves toward the other room.) i just want you to come in here a minute, george. we ought to take a look at these windows. county attorney (scoffingly). oh, windows! sheriff. we’ll be right out, mr. hale. (hale goes outside. the sheriff follows the county attorney into the other room. then mrs. hale rises, hands tight together, looking intensely at mrs. peters, whose eyes take a slow turn, finally meeting mrs. hale’s. a moment mrs. hale holds her, then her own eyes point the way to where the box is concealed. suddenly mrs. peters throws back quilt pieces and tries to put the box in the bag she is wearing. it is too big. she opens box, starts to take the bird out, cannot touch it, goes to pieces, stands there . sound of a knob turning in the other room. mrs. hale snatches the box and puts it in the pocket of her big coat. enter county attorney and sheriff.) county attorney (facetiously). well, henry, at least we found out that she was not going to quilt it. she was going to—what is it you call it, ladies! mrs. hale (her hand against her pocket). we call it—knot it, mr. henderson. what changes might a director or screenwriter make to the original version of this scene in order to best emphasize the mood? cut dialogue from the scene to make it a more appropriate length update the setting to appeal to a more modern-day audience omit the actions of the characters to avoid confusion and chaos include the use of lighting, camera angles, and sound effects