The following three paragraphs are from a literary analysis essay. What
order should they appear in?
I. In this 1925 novel, Fitzgerald creates sensory overload, filling his pages
with flamboyant descriptions of sound as well as overwhelming material
beauty. This sense of overwhelmingness is one way Fitzgerald suggests
that great riches are not entirely positive. Additionally, the shadowy filler
characters who lack personality and individuality demonstrate that overt
affluence can attract fortune seekers and prevent authentic friendships.
The mysteriousness of Gatsby himself draws a parallel to faceless
American prosperity, and the final tragedy leads the reader to question the
purpose of affluence.
II. The fact that Fitzgerald approaches this issue from the standpoint of one
experiencing the prosperity of the Roaring 20s strengthens the potency of
this proclamation against the evils of excess wealth. His successful use of
flashy imagery and conformist characters clearly communicates a warning
against purposeless, directionless riches - a warning that modern-day
Americans would do well to heed.
III. As America has grown more prosperous as a nation, some have tried to
raise awareness of the dangers of excess wealth. That is exactly what F
Scott Fitzgerald does in The Great Gatsby, which features a young
millionaire hungry for even more wealth and power. Vibrant sensory images
and vague characterization help Fitzgerald's novel succeed in making a
radical social statement concerning senseless wealth.

This device blocks an opening along the base/floor of stairs or other walking or working surfaces where materials or body parts might otherwise inadvertently fall through. it should be 4 inches high, with not more than ¼ inch clearance above the floor

Select the contred text in the passage which sentence in this excerpt from john galsworthy's narrative essay "gone" reflects his view that there is no afterlife? an old woman and mrs. herd's sister were in the sitting-room, they showed us to the crazy, narrow stairway. though we lived distant but four hundred yards of a crows flight, we had never seen mrs. herd before, for that is the way of things in this land of minding one's own business a slight dark girlish-looking woman, almost quite refined away, and with those eyes of the dying, where the spirit is coming through, as it only does when it knows that al is over except just the passing. she lay in a double bed with clean white sheets. a white-washed room, so low that the ceiling almost touched our heads, some flowers in a bow, the small lattice window open. though it was hot in there, it was better far than the rooms of most families in towns, living on a wage of twice as much, for here was no sign of defeat in decency or cleanliness. in her face, as in poor herd's, was that same strange minging of resigned despair and almost eager appeal, so terrible to disappoint. yet, trying not to disappoint it, one felt guilty of treachery: what was the good, the kindness in making this poor bird flutter still with hope against the bars, when fast prison had so surely closed in round her? but what else could we do? we could not give her those glib assurances that naive souls make so easily to others concerning their after state. and the night was so beautiful, so utterly glamourously beautiful, with its star-flowers, and its silence and its trees clothed in moonlight. all was tranquil as a dream of sleep. but it was long before our hearts wandering with poor herd, would let us remember that she had slipped away into so beautiful a dream

What is a hyperbole in the book messenger