Do you think the way words are added to the dictionary (as per the two articles) is fair? Support your reasoning with evidence from one or both articles.Please do likewise.
How does Roderigo help Iago? Why? Support answer with embedded text evidence.If you were in class today and would like another shot at earning a 70, re-try the questions above. If you would like to possibly earn an 85, answer the following question, as well:
Summarize the “conversation” Iago and Roderigo have with Brabantio. Support answer with embedded text evidence.
In Act 1, Scene 2, line 58, why does Iago challenge Roderigo to a duel with the line "You, Roderigo! come sir, I am for you"? Support your answer with evidence from Act 1, Scene 1.
Summarize Montag’s relationship with Clarisse McClellan. Support your answer with embedded text evidence.If you were in class today and would like another shot at earning a 70, re-try the questions above. If you would like to possibly earn an 85, answer the following question, as well:
Describe what happens to the woman Montag tries to arrest when the firemen arrive at 11 North Elm St. Support your answer with embedded text evidence. (In other words, why doesn’t he arrest her?)
Describe two pieces of household technology mentioned in the beginning of the novel. What are they similar to in our world.
What is the tone of the final scene in the clearing, just prior to George killing Lennie?
Lennie got up on his knees. “You ain’t gonna leave me, are ya, George? I know you ain’t.”
George came stiffly near and sat down beside him. “No.”
“I knowed it,” Lennie cried. “You ain’t that kind.”
George was silent.Lennie said, “George.”
“Yeah?”
“I done another bad thing.”
“It don’t make no difference,” George said, and he fell silent again.
Only the topmost ridges were in the sun now. The shadow in the valley was blue and soft. From the distance came the sound of men shouting to one another. George turned his head and listened to the shouts.
Lennie said, “George.”
“Yeah?”
“Ain’t you gonna give me hell?”
“Give ya hell?”
“Sure, like you always done before. Like, ‘If I di’n’t have you I’d take my fifty bucks—’”
“Jesus Christ, Lennie! You can’t remember nothing that happens, but you remember ever’ word I say.”
“Well, ain’t you gonna say it?”
George shook himself. He said woodenly, “If I was alone I could live so easy.” His voice was monotonous, had no emphasis. “I could get a job an’ not have no mess.” He stopped.
“Go on,” said Lennie. “An’ when the enda the month come—”
“An’ when the end of the month came I could take my fifty bucks an’ go to a . . . . cat house—” He stopped again.
Lennie looked eagerly at him. “Go on, George. Ain’t you gonna give me no more hell?”
“No,” said George.
“Well, I can go away,” said Lennie. “I’ll go right off in the hills an’ find a cave if you don’ want me.”
George shook himself again. “No,” he said. “I want you to stay with me here.”
Lennie said craftily—“Tell me like you done before.”
“Tell you what?”
“’Bout the other guys an’ about us.”
George said, “Guys like us got no fambly. They make a little stake an’ then they blow it in. They ain’t got nobody in the worl’ that gives a hoot in hell about ‘em—”
“But not us,” Lennie cried happily. “Tell about us now.”
George was quiet for a moment. “But not us,” he said.
“Because—”
“Because I got you an’—”
“An’ I got you. We got each other, that’s what, that gives a hoot in hell about us,” Lennie cried in triumph.
The little evening breeze blew over the clearing and the leaves rustled and the wind waves flowed up the green pool. And the shouts of men sounded again, this time much closer than before.
George took off his hat. He said shakily, “Take off your hat, Lennie. The air feels fine.”
Lennie removed his hat dutifully and laid it on the ground in front of him.
The shadow in the valley was bluer, and the evening came fast. On the wind the sound of crashing in the brush came to them.
Lennie said, “Tell how it’s gonna be.”
George had been listening to the distant sounds. For a moment he was businesslike. “Look acrost the river, Lennie, an’ I’ll tell you so you can almost see it.”Lennie turned his head and looked off across the pool and up the darkening slopes of the Gabilans. “We gonna get a little place,” George began. He reached in his side pocket and brought out Carlson’s Luger; he snapped off the safety, and the hand and gun lay on the ground behind Lennie’s back. He looked at the back of Lennie’s head, at the place where the spine and skull were joined.
A man’s voice called from up the river, and another man answered.
“Go on,” said Lennie.
George raised the gun and his hand shook, and he dropped his hand to the ground again.
“Go on,” said Lennie. “How’s it gonna be. We gonna get a little place.”
“We’ll have a cow,” said George. “An’ we’ll have maybe a pig an’ chickens . . . . an’ down the flat we’ll have a . . . . little piece alfalfa—”
“For the rabbits,” Lennie shouted.
“For the rabbits,” George repeated.
“And I get to tend the rabbits.”
“An’ you get to tend the rabbits.”
Lennie giggled with happiness. “An’ live on the fatta the lan’.”
“Yes.”
Lennie turned his head.
“No, Lennie. Look down there acrost the river, like you can almost see the place.”
Lennie obeyed him. George looked down at the gun.
There were crashing footsteps in the brush now. George turned and looked toward them.
“Go on, George. When we gonna do it?”
“Gonna do it soon.”
“Me an’ you.”
“You . . . . an’ me. Ever’body gonna be nice to you. Ain’t gonna be no more trouble. Nobody gonna hurt nobody nor steal from ‘em.”
Lennie said, “I thought you was mad at me, George.”
“No,” said George. “No, Lennie. I ain’t mad. I never been mad, an’ I ain’t now. That’s a thing I want ya to know.”
The voices came close now. George raised the gun and listened to the voices.
Lennie begged, “Le’s do it now. Le’s get that place now.”
“Sure, right now. I gotta. We gotta.”
Does Cisneros' choice of name for the protagonist seem ironic? Explain (with embedded evidence from the text.
Esperanza is not an ironic name for the protagonist of House on Mango Street. "Quote from story." This helps the reader see that there is hope for her, which is the meaning of her name.
or
Esperanza is an ironic name choice for the lead character in House on Mango Street. "Different quote from story." Someone named after hope should have a positive outlook on life, and Esperanza doesn't.
Esperanza is not an ironic name for the protagonist of House on Mango Street. When Cisneros writes, "Quote from story," the reader can easily see that there is hope for her, which is the meaning of her name.
or
Esperanza is an ironic name choice for the lead character in House on Mango Street. For instance, in lines xx through yy, she says "'Different quote from story.'" Someone named after hope should have a positive outlook on life, and Esperanza's words show she doesn't.
Which "lie" mentioned in the introduction of The Alchemist did the crystal merchant believe, and in doing so, prevented him from realizing his personal legend (i.e., stopped him from making his pilgrimage to Mecca)? Support your response with evidence from the text.10 lines maximum.
What reasons did Beatty give for the banning of books? Are his reasons legitimate? Support your response with evidence from the text.10 lines maximum.
