Which of the following thesis statements does not need to be rewritten? a. in this essay, i will show that shakespeare's lear is a tragic figure. b. shakespeare's king lear is about nothing: ciphers and zeros recur as motifs and represent the main theme of the play. c. shakespeare's king lear is a tragedy. d. shakespeare's king lear is about nothing.

Read the excerpt from queen elizabeth's response to parliament's request that she marry. for i assure you (what credit my assurance may have with you, i cannot tell, but what credit it shall deserve to have, the sequel shall declare) i will never in that matter conclude any thing that shall be prejudicial to the realm. for the weal, good and safety whereof, i will never shun to spend my life; and whomsoever it shall be my chance to light upon, i trust he shall be such, as shall be as careful for the realm as you; i will not say as myself, because i cannot so certainly determine of any other, but by my desire he shall be such as shall be as careful for the preservation of the realm and you, as myself. in this excerpt, queen elizabeth says "for the weal, good and safety whereof, i will never shun to spend my life" in order to convince her audience that she is unbiased, intelligent, and rarely makes mistakes. inform her audience that she will work hard to win back the broken trust of her followers. persuade her audience that she will never make personal decisions that will harm england. remind her audience that she is the ruler and in charge of enacting laws that protect england.

"edna, dear, are you not coming in soon? " he asked again, this time fondly, with a note of entreaty. "no, i am going to stay out here." "this is more than folly," he blurted out. "i can't permit you to stay out there all night. you must come in the house instantly." which best explains how chopin's use of language represents her style?

Which line in this excerpt from the great gatsby by f. scott fitzgerald contains a simile? about half way between west egg and new york the motor-road hastily joins the railroad and runs beside it for a quarter of a mile, so as to shrink away from a certain desolate area of land. this is a valley of ashes—a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air. occasionally a line of grey cars crawls along an invisible track, gives out a ghastly creak and comes to rest, and immediately the ash-grey men swarm up with leaden spades and stir up an impenetrable cloud which screens their obscure operations from your sight.