Read this excerpt from "ain't i a woman? " by sojourner truth. in which three sentences does she make an emotional appeal to the audience by talking about her personal hardships? well, children, where there is so much racket there must be something out of kilter. i think that 'twixt the negroes of the south and the women at the north, all talking about rights, the white men will be in a fix pretty soon. but what's all this here talking about? that man over there says that women need to be into carriages, and lifted over ditches, and to have the best place everywhere. nobody ever me into carriages, or over mud-puddles, or gives me any best place! and ain't i a woman? look at me! look at my arm! i have ploughed and planted, and gathered into barns, and no man could head me! and ain't i a woman? i could work as much and eat as much as a man - when i could get it - and bear the lash as well! and ain't i a woman? i have borne thirteen children, and seen most all sold off to slavery, and when i cried out with my mother's grief, none but jesus heard me! and ain't i a woman? then they talk about this thing in the head; what's this they call it? [member of audience whispers, "intellect"] that's it, honey. what's that got to do with women's rights or negroes' rights? if my cup won't hold but a pint, and yours holds a quart, wouldn't you be mean not to let me have my little half measure full?

What is the main problem with the following critique? “you put some thought into it, but you obviously do not care much about the topic you are presenting.” a. it is not ethical. b. it is not constructive c. it is not specific. d. it is not behavior focused.

Explain how creon’s tragic downfall reveals the ancient greek belief that nothing happens by chance.

Historical fiction is concerned with depicting historical figures and events in a new light. in this excerpt from arthur conan doyle's "the contest," which two sentences most clearly describe historical elements? policles sprang readily to his feet at the challenge, and the great company making way for him to pass, he found himself a minute later standing in his unkempt garb, with his frayed and weather-beaten harp in his hand, before the expectant crowd. he stood for a moment tightening a string here and slackening another there until his chords rang true. then, amid a murmur of laughter and jeers from the roman benches immediately before him, he began to sing. he had prepared no composition, but he had trained himself to improvise, singing out of his heart for the joy of the music. he told of the land of elis, beloved of jupiter, in which they were gathered that day, of the great bare mountain slopes, of the swift shadows of the clouds, of the winding blue river, of the keen air of the uplands, of the chill of the evenings, and the beauties of earth and sky. it was all simple and childlike, but it went to the hearts of the olympians, for it spoke of the land which they knew and loved. yet when he at last dropped his hand, few of them dared to applaud, and their feeble voices were drowned by a storm of hisses and groans from his opponents. he shrank back in horror from so unusual a reception, and in an instant his blue-clad rival was in his place. if he had sung badly before, his performance now was inconceivable. his screams, his grunts, his discords, and harsh jarring cacophonies were an outrage to the very name of music.