Read the excerpt from act 4, scene 3, of The Tragedy of Julius Caesar . [ BRUTUS: ] Messala, I have here receivèd letters, That young Octavius and Mark Antony Come down upon us with a mighty power, Bending their expedition toward Philippi. MESSALA: Myself have letters of the selfsame tenor. BRUTUS: With what addition? MESSALA: That by proscription and bills of outlawry, Octavius, Antony, and Lepidus Have put to death an hundred senators. BRUTUS: Therein our letters do not well agree. Mine speak of seventy senators that died By their proscriptions, Cicero being one. CASSIUS: Cicero one! MESSALA: Ay, Cicero is dead, And by that order of proscription. How does this interaction affect the plot?
Read the excerpt from act 3, scene 1, of Julius Caesar . ANTONY: Therefore I took your hands, but was indeed Swayed from the point by looking down on Caesar. Friends am I with you all, and love you all, Upon this hope: that you shall give me reasons Why and wherein Caesar was dangerous. What is the central idea of this excerpt?
The sentence "This moment brought to you by dad” can best be described as which type of appeal?
Read the excerpt from act 5, scene 1, of Julius Caesar . MESSENGER: Prepare you, generals. The enemy comes on in gallant show. Their bloody sign of battle is hung out, And something to be done immediately. ANTONY: Octavius, lead your battle softly on, Upon the left hand of the even field. OCTAVIUS: Upon the right hand, I; keep thou the left. How does the use of the word gallant add to the meaning of the sentence?
Read the excerpt from "An Image of Africa: Racism in Conrad’s Heart of Darkness. ” It might be contended, of course, that the attitude to the African in Heart of Darkness is not Conrad's but that of his fictional narrator, Marlow, and that far from endorsing it Conrad might indeed be holding it up to irony and criticism. Certainly, Conrad appears to go to considerable pains to set up layers of insulation between himself and the moral universe of his history. He has, for example, a narrator behind a narrator. The primary narrator is Marlow, but his account is given to us through the filter of a second, shadowy person. But if Conrad's intention is to draw a cordon sanitaire between himself and the moral and psychological malaise of his narrator, his care seems to me totally wasted because he neglects to hint, clearly and adequately, at an alternative frame of reference by which we may judge the actions and opinions of his characters. It would not have been beyond Conrad's power to make that provision if he had thought it necessary. Conrad seems to me to approve of Marlow, with only minor reservations—a fact reinforced by the similarities between their two careers. What is Achebe’s purpose in this passage?
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