When the camel driver sees, at the horizon of the tableland, the pinnacles of the skyscrapers come into view, the radar antennae, the white and red windsocks flapping, the chimneys belching smoke, he thinks of a ship; he knows it is a city, but he thinks of it as a vessel that will take him away from the desert, a windjammer about to cast off, with the breeze already swelling the sails, not yet unfurled, or a steamboat with its boiler vibrating in the iron keel; and he thinks of all the ports, the foreign merchandise the cranes unload on the docks, the taverns where crews of different flags break bottles over one another’s heads, the lighted, ground floor windows, each with a woman combing her hair. — Italo Calvino, Invisible Cities (New York: Harcourt, 1974), 17.
Describe the pacing of this excerpt. Use specific examples to support your answer.

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

“tell me o swan, your ancient tale” by kabir “the swan” by rilke “spanish dancer” by rilke “your laughter” by pablo neruda “birthplace” by shaffarzadeh “it’s this way” by nazim hikmet “counting small-boned bodies” by robert bly choose two poems that you would like to write about. analyze each poem. study the perspective, or point of view, of the speaker in each of the two poems that you select for this assignment. consider these questions: who is the speaker in each of these poems? what is the speaker’s tone? is there a conflict? is there a message? what does each of the poems have in common? what is different about each of the poems? which literary devices are used in the poems? are these literary devices found in both of the poems? what does the speaker hope to achieve in each of the poems? how are these achievements/goals been met? directions: using the two poems of your choosing, write a clear, concise, two hundred and fifty word essay that compares and contrasts the two poems. make sure you include at least two of the following to support your thesis: tone, point of view, literary devices, and meter.

After the doctors question their authenticity, the duke suggest that he and the king leave immediately with the money they have already stolen. why does the king refuse to leave