Adv English ll - Final

MLA Citations must be ____ point, _______. They must also be _____ spaced, with ___ inch margins and ______ indents.

12; Times New Roman; Double; 1; Hanging

Parenthetical citations consist of two parts: _________ and _________. Longer works are _________, while shorter works go in _________.

Author’s Last Name; Location (Pg #); Italicized; Quotation Marks

Correct this works cited page:

Works Cited 

“MLA Format (8th ed.)." EasyBib Blog, Imagine Easy Solutions, 2016, www.easybib.com/guides/citation-guides/mla-8/.

Works Cited  “MLA Format (8th ed.)." EasyBib Blog, Imagine Easy Solutions, 2016,  www.easybib.com/guides/citation-guides/mla-8/.

Correct this works cited page:

In Things They Carried, the author discusses his revisions to an old story, vulnerably showing his readers how a great author heavily revises to create a better story."(O'Brien 154) even if the "old structure remains". 

In Things They Carried, the author discusses his revisions to an old story, vulnerably showing his readers how a great author heavily revises to create a better story even if the "old structure remains" (O'Brien 154).

 In Your Mind

         The other country, is it anticipated or half-remembered?

         Its language is muffled by the rain which falls all afternoon

         one autumn in England, and in your mind

         you put aside your work and head for the airport

(5)    with a credit card and a warm coat you will leave

         on the plane. The past fades like newsprint in the sun.

         You know people there. Their faces are photographs

         on the wrong side of your eyes. A beautiful boy

         in the bar on the harbour serves you a drink - what? -

(10)  asks you if men could possibly land on the moon.

         A moon like an orange drawn by a child. No.

         Never. You watch it peel itself into the sea.

         Sleep. The rasp of carpentry wakes you. On the wall,

         a painting lost for thirty years renders the room yours.

(15)  Of course. You go to your job, right at the old hotel, left,

         then left again. You love your job. Apt sounds

         mark the passing of the hours. Seagulls. Bells. A flute

         practicing scales. You swap a coin for a fish on the way home.

         Then suddenly you are lost but not lost, dawdling

(20)  on the blue bridge, watching six swans vanish

         under your feet. The certainty of a place turns on the lights

         all over town, turns up the scent on the air. For a moment

         you are there, in the other country, knowing its name.

         And then a desk. A newspaper. A window. English rain.

Paraphrase

Despite the “other country” feeling like home, the narrator struggles to remember it and the memories they had–people, settings, etc. They daydream, walking around the city and admiring its qualities. Finally, the speaker is thrust back into their real city, finding some comfort in the familiarity of his surroundings.

 In Your Mind

         The other country, is it anticipated or half-remembered?

         Its language is muffled by the rain which falls all afternoon

         one autumn in England, and in your mind

         you put aside your work and head for the airport

(5)    with a credit card and a warm coat you will leave

         on the plane. The past fades like newsprint in the sun.

         You know people there. Their faces are photographs

         on the wrong side of your eyes. A beautiful boy

         in the bar on the harbour serves you a drink - what? -

(10)  asks you if men could possibly land on the moon.

         A moon like an orange drawn by a child. No.

         Never. You watch it peel itself into the sea.

         Sleep. The rasp of carpentry wakes you. On the wall,

         a painting lost for thirty years renders the room yours.

(15)  Of course. You go to your job, right at the old hotel, left,

         then left again. You love your job. Apt sounds

         mark the passing of the hours. Seagulls. Bells. A flute

         practicing scales. You swap a coin for a fish on the way home.

         Then suddenly you are lost but not lost, dawdling

(20)  on the blue bridge, watching six swans vanish

         under your feet. The certainty of a place turns on the lights

         all over town, turns up the scent on the air. For a moment

         you are there, in the other country, knowing its name.

         And then a desk. A newspaper. A window. English rain.

Speaker

The speaker of the poem is looking for an escape to their current situation, daydreaming about being in another country. It’s suggested that they daydream often—so much so that there are familiar faces and landmarks in this other country. The vivid daydream suggests that they’re artistic and creative.

 In Your Mind

         The other country, is it anticipated or half-remembered?

         Its language is muffled by the rain which falls all afternoon

         one autumn in England, and in your mind

         you put aside your work and head for the airport

(5)    with a credit card and a warm coat you will leave

         on the plane. The past fades like newsprint in the sun.

         You know people there. Their faces are photographs

         on the wrong side of your eyes. A beautiful boy

         in the bar on the harbour serves you a drink - what? -

(10)  asks you if men could possibly land on the moon.

         A moon like an orange drawn by a child. No.

         Never. You watch it peel itself into the sea.

         Sleep. The rasp of carpentry wakes you. On the wall,

         a painting lost for thirty years renders the room yours.

(15)  Of course. You go to your job, right at the old hotel, left,

         then left again. You love your job. Apt sounds

         mark the passing of the hours. Seagulls. Bells. A flute

         practicing scales. You swap a coin for a fish on the way home.

         Then suddenly you are lost but not lost, dawdling

(20)  on the blue bridge, watching six swans vanish

         under your feet. The certainty of a place turns on the lights

         all over town, turns up the scent on the air. For a moment

         you are there, in the other country, knowing its name.

         And then a desk. A newspaper. A window. English rain.

Figurative Language

“in your mind

you put aside your work and head for the airport”

The use of metaphor in this line helps develop the idea that daydreaming is equivalent to temporarily leaving this world, an escape from your current situation/environment. By saying that you “put aside your work” before heading “for the airport,” it’s implied that the speaker is going on vacation (Duffy 3). The speaker utilizes these actions as a metaphor to suggest daydreaming mirrors going on vacation–they begin by you going to the airport in order to fly to a new destination.

“Their faces are photographs

on the wrong side of your eyes.”

This statement utilizes metaphor in order to suggest that memories become distorted with time, altering our perceptions of previous relationships. The speaker explains how faces on the street are “photographs on the wrong side” of their “eyes,” (Duffy 7). This highlights how though they somewhat remember the faces of people, they’re oriented incorrectly, distorting their perceptions. This is further suggested with the image of the photographs being on the speaker's “eyes,” which are how we perceive the world–and other people. If our memories–the photographs–are distorted, this affects our image of people within them.

“And then a desk. A newspaper. A

window. English rain.”

The repetition and use of short statements to describe the speaker’s environment contributes to the sense of familiarity. By briefly listing out the objects as separate statements, the short, fragmented feeling highlights the repetition, suggesting that they’re familiar with this environment. The speaker has seen the “desk…, newspaper…, window…,” and “English rain” countless times before. This further develops the idea that the speaker has returned to reality after ending their daydream.

 In Your Mind

         The other country, is it anticipated or half-remembered?

         Its language is muffled by the rain which falls all afternoon

         one autumn in England, and in your mind

         you put aside your work and head for the airport

(5)    with a credit card and a warm coat you will leave

         on the plane. The past fades like newsprint in the sun.

         You know people there. Their faces are photographs

         on the wrong side of your eyes. A beautiful boy

         in the bar on the harbour serves you a drink - what? -

(10)  asks you if men could possibly land on the moon.

         A moon like an orange drawn by a child. No.

         Never. You watch it peel itself into the sea.

         Sleep. The rasp of carpentry wakes you. On the wall,

         a painting lost for thirty years renders the room yours.

(15)  Of course. You go to your job, right at the old hotel, left,

         then left again. You love your job. Apt sounds

         mark the passing of the hours. Seagulls. Bells. A flute

         practicing scales. You swap a coin for a fish on the way home.

         Then suddenly you are lost but not lost, dawdling

(20)  on the blue bridge, watching six swans vanish

         under your feet. The certainty of a place turns on the lights

         all over town, turns up the scent on the air. For a moment

         you are there, in the other country, knowing its name.

         And then a desk. A newspaper. A window. English rain.

Attitude/Tone

Tones: Wistful, dreamy, nostalgic This tone is created through vivid imagery, metaphors, and contrast created between the speaker’s daydream and their reality in England. It aids us visualize the speaker’s daydream and deepens their sense of dissatisfaction with the real world.

 In Your Mind

         The other country, is it anticipated or half-remembered?

         Its language is muffled by the rain which falls all afternoon

         one autumn in England, and in your mind

         you put aside your work and head for the airport

(5)    with a credit card and a warm coat you will leave

         on the plane. The past fades like newsprint in the sun.

         You know people there. Their faces are photographs

         on the wrong side of your eyes. A beautiful boy

         in the bar on the harbour serves you a drink - what? -

(10)  asks you if men could possibly land on the moon.

         A moon like an orange drawn by a child. No.

         Never. You watch it peel itself into the sea.

         Sleep. The rasp of carpentry wakes you. On the wall,

         a painting lost for thirty years renders the room yours.

(15)  Of course. You go to your job, right at the old hotel, left,

         then left again. You love your job. Apt sounds

         mark the passing of the hours. Seagulls. Bells. A flute

         practicing scales. You swap a coin for a fish on the way home.

         Then suddenly you are lost but not lost, dawdling

(20)  on the blue bridge, watching six swans vanish

         under your feet. The certainty of a place turns on the lights

         all over town, turns up the scent on the air. For a moment

         you are there, in the other country, knowing its name.

         And then a desk. A newspaper. A window. English rain.

Shifts

Shifts: Line 5

           Line 24

These shifts mark the transition from reality to daydream, and then daydream to reality. This is significant because the contrast created between the two settings highlights the speaker’s unhappiness with their real environment and emphasizes why they’re trying so desperately to escape.

 In Your Mind

         The other country, is it anticipated or half-remembered?

         Its language is muffled by the rain which falls all afternoon

         one autumn in England, and in your mind

         you put aside your work and head for the airport

(5)    with a credit card and a warm coat you will leave

         on the plane. The past fades like newsprint in the sun.

         You know people there. Their faces are photographs

         on the wrong side of your eyes. A beautiful boy

         in the bar on the harbour serves you a drink - what? -

(10)  asks you if men could possibly land on the moon.

         A moon like an orange drawn by a child. No.

         Never. You watch it peel itself into the sea.

         Sleep. The rasp of carpentry wakes you. On the wall,

         a painting lost for thirty years renders the room yours.

(15)  Of course. You go to your job, right at the old hotel, left,

         then left again. You love your job. Apt sounds

         mark the passing of the hours. Seagulls. Bells. A flute

         practicing scales. You swap a coin for a fish on the way home.

         Then suddenly you are lost but not lost, dawdling

(20)  on the blue bridge, watching six swans vanish

         under your feet. The certainty of a place turns on the lights

         all over town, turns up the scent on the air. For a moment

         you are there, in the other country, knowing its name.

         And then a desk. A newspaper. A window. English rain.

Tension

Tension is created through the speaker’s internal conflict and their urge to escape reality by daydreaming. Multiple types of contrast are used to develop this: daydream vs. reality, past vs. present, and vivid vs. dull imagery. This is significant because it highlights the dullness of the speaker’s daily life, demonstrating why they want an escape.

 In Your Mind

         The other country, is it anticipated or half-remembered?

         Its language is muffled by the rain which falls all afternoon

         one autumn in England, and in your mind

         you put aside your work and head for the airport

(5)    with a credit card and a warm coat you will leave

         on the plane. The past fades like newsprint in the sun.

         You know people there. Their faces are photographs

         on the wrong side of your eyes. A beautiful boy

         in the bar on the harbour serves you a drink - what? -

(10)  asks you if men could possibly land on the moon.

         A moon like an orange drawn by a child. No.

         Never. You watch it peel itself into the sea.

         Sleep. The rasp of carpentry wakes you. On the wall,

         a painting lost for thirty years renders the room yours.

(15)  Of course. You go to your job, right at the old hotel, left,

         then left again. You love your job. Apt sounds

         mark the passing of the hours. Seagulls. Bells. A flute

         practicing scales. You swap a coin for a fish on the way home.

         Then suddenly you are lost but not lost, dawdling

(20)  on the blue bridge, watching six swans vanish

         under your feet. The certainty of a place turns on the lights

         all over town, turns up the scent on the air. For a moment

         you are there, in the other country, knowing its name.

         And then a desk. A newspaper. A window. English rain.

Theme

This poem is attempting to highlight the extent to which your mind can facilitate an escape from reality, and how it's shaped by your memories. It reflects the boundary between reality and dreams, suggesting that the mind’s vivid imaginations can compete with reality. However, it also emphasizes the inevitable return to reality, symbolized through repetition and a lack of interesting imagery.

Here Nor There

by Clint Smith, 2019

       New Orleans is a bouquet of pixelated memories.

       A caravan of embers that refuse to turn to ash.

       I have tried to write these poems before, you know,

       the ones about the infamous storm & its majestic

(5)  violence. The flood water that swallowed a city

       & then sat still as night. I think often of the things

       it took from us that we’ll never know we could

       have had. Counterfactuals have always been a bed

       of thorns in a room with nowhere else to lay your

(10) head. To imagine what could have been but never

       was. The Christmases with my children in the home

       where I once opened presents. Kicking a soccer ball

       with my daughter against the same playground wall

       where I imagined a life of goals & glory. That home

(15) is now silent as a sky of smoke. That wall is no longer 

       a wall but a smattering of bricks in a lonely field.

       I tremble at what I already know is likely, that my

       children will not know this city beyond the holidays

       & funerals that bring them here. That I no longer

(20) know the city I have always worn like a tattoo.

       Nostalgia is a well-intentioned wound. I still remember

       the city as something it was kept from becoming.

       I am still looking for a language not covered in ash.

       I am still mourning the loss of a life that never was.

Paraphrase

The speaker highlights the drastic change Hurricane Katrina inflicted on New Orleans, and how the flood water swallowed parts of their childhood. They mourn the past, and the loss for future generations.

Here Nor There

by Clint Smith, 2019

       New Orleans is a bouquet of pixelated memories.

       A caravan of embers that refuse to turn to ash.

       I have tried to write these poems before, you know,

       the ones about the infamous storm & its majestic

(5)  violence. The flood water that swallowed a city

       & then sat still as night. I think often of the things

       it took from us that we’ll never know we could

       have had. Counterfactuals have always been a bed

       of thorns in a room with nowhere else to lay your

(10) head. To imagine what could have been but never

       was. The Christmases with my children in the home

       where I once opened presents. Kicking a soccer ball

       with my daughter against the same playground wall

       where I imagined a life of goals & glory. That home

(15) is now silent as a sky of smoke. That wall is no longer 

       a wall but a smattering of bricks in a lonely field.

       I tremble at what I already know is likely, that my

       children will not know this city beyond the holidays

       & funerals that bring them here. That I no longer

(20) know the city I have always worn like a tattoo.

       Nostalgia is a well-intentioned wound. I still remember

       the city as something it was kept from becoming.

       I am still looking for a language not covered in ash.

       I am still mourning the loss of a life that never was.

Speaker

The speaker is most likely a parent that grew up in New Orleans prior to the hurricane. They highlight their childhood memories in the city and mourn their loss, developing a nostalgic and emotional tone. They miss their childhood and are heartbroken that their children won’t be able to experience it.

Here Nor There

by Clint Smith, 2019

       New Orleans is a bouquet of pixelated memories.

       A caravan of embers that refuse to turn to ash.

       I have tried to write these poems before, you know,

       the ones about the infamous storm & its majestic

(5)  violence. The flood water that swallowed a city

       & then sat still as night. I think often of the things

       it took from us that we’ll never know we could

       have had. Counterfactuals have always been a bed

       of thorns in a room with nowhere else to lay your

(10) head. To imagine what could have been but never

       was. The Christmases with my children in the home

       where I once opened presents. Kicking a soccer ball

       with my daughter against the same playground wall

       where I imagined a life of goals & glory. That home

(15) is now silent as a sky of smoke. That wall is no longer 

       a wall but a smattering of bricks in a lonely field.

       I tremble at what I already know is likely, that my

       children will not know this city beyond the holidays

       & funerals that bring them here. That I no longer

(20) know the city I have always worn like a tattoo.

       Nostalgia is a well-intentioned wound. I still remember

       the city as something it was kept from becoming.

       I am still looking for a language not covered in ash.

       I am still mourning the loss of a life that never was.

Figurative Language

“A bouquet of pixelated memories.”

The poem utilizes contrasting connotations to highlight the significance of the change brought by the hurricane. By describing it as a “bouquet,” which has positive, often celebratory connotations, the speaker develops the sense that they cherish and celebrate their childhood memories in New Orleans. However, they create contrast with the use of the word “pixelated,” which suggests that the memories have been distorted and are no longer visible for future generations.

“I no longer

know the city I have always worn like a tattoo.”

This line utilizes simile within a metaphor in order to illustrate the extent to which the speaker had been familiar with the city. The metaphor that she’d “worn it” highlights her familiarity, and this is further emphasized by saying it mirrored “a tattoo”-- a permanent marking on one’s skin.

“Nostalgia is a well-intentioned wound.”

This line utilizes metaphor in order to convey that nostalgia is a double edged sword–though the memories are pleasant and “well-intentioned,” remembering the past can often be painful. This is reflected throughout the speaker’s descriptions of mourning the loss of her childhood memories due to the hurricane.

Here Nor There

by Clint Smith, 2019

       New Orleans is a bouquet of pixelated memories.

       A caravan of embers that refuse to turn to ash.

       I have tried to write these poems before, you know,

       the ones about the infamous storm & its majestic

(5)  violence. The flood water that swallowed a city

       & then sat still as night. I think often of the things

       it took from us that we’ll never know we could

       have had. Counterfactuals have always been a bed

       of thorns in a room with nowhere else to lay your

(10) head. To imagine what could have been but never

       was. The Christmases with my children in the home

       where I once opened presents. Kicking a soccer ball

       with my daughter against the same playground wall

       where I imagined a life of goals & glory. That home

(15) is now silent as a sky of smoke. That wall is no longer 

       a wall but a smattering of bricks in a lonely field.

       I tremble at what I already know is likely, that my

       children will not know this city beyond the holidays

       & funerals that bring them here. That I no longer

(20) know the city I have always worn like a tattoo.

       Nostalgia is a well-intentioned wound. I still remember

       the city as something it was kept from becoming.

       I am still looking for a language not covered in ash.

       I am still mourning the loss of a life that never was.

Attitude/Tone

Tone: Nostalgic, emotional, mourning

This is created through the descriptions of her childhood memories that have been lost to the storm, and that the next generations of children will never know them.

Here Nor There

by Clint Smith, 2019

       New Orleans is a bouquet of pixelated memories.

       A caravan of embers that refuse to turn to ash.

       I have tried to write these poems before, you know,

       the ones about the infamous storm & its majestic

(5)  violence. The flood water that swallowed a city

       & then sat still as night. I think often of the things

       it took from us that we’ll never know we could

       have had. Counterfactuals have always been a bed

       of thorns in a room with nowhere else to lay your

(10) head. To imagine what could have been but never

       was. The Christmases with my children in the home

       where I once opened presents. Kicking a soccer ball

       with my daughter against the same playground wall

       where I imagined a life of goals & glory. That home

(15) is now silent as a sky of smoke. That wall is no longer 

       a wall but a smattering of bricks in a lonely field.

       I tremble at what I already know is likely, that my

       children will not know this city beyond the holidays

       & funerals that bring them here. That I no longer

(20) know the city I have always worn like a tattoo.

       Nostalgia is a well-intentioned wound. I still remember

       the city as something it was kept from becoming.

       I am still looking for a language not covered in ash.

       I am still mourning the loss of a life that never was.

Shifts

Line 14–Shifts from remembering to mourning for future generations This shift is significant because it reveals the speaker’s emotions and thoughts concerning the hurricane–it evaluates the significance of the storm. Not only does it develop the extent to which it will affect them, but it also highlights effects on future generations of children growing up in New Orleans.

Here Nor There

by Clint Smith, 2019

       New Orleans is a bouquet of pixelated memories.

       A caravan of embers that refuse to turn to ash.

       I have tried to write these poems before, you know,

       the ones about the infamous storm & its majestic

(5)  violence. The flood water that swallowed a city

       & then sat still as night. I think often of the things

       it took from us that we’ll never know we could

       have had. Counterfactuals have always been a bed

       of thorns in a room with nowhere else to lay your

(10) head. To imagine what could have been but never

       was. The Christmases with my children in the home

       where I once opened presents. Kicking a soccer ball

       with my daughter against the same playground wall

       where I imagined a life of goals & glory. That home

(15) is now silent as a sky of smoke. That wall is no longer 

       a wall but a smattering of bricks in a lonely field.

       I tremble at what I already know is likely, that my

       children will not know this city beyond the holidays

       & funerals that bring them here. That I no longer

(20) know the city I have always worn like a tattoo.

       Nostalgia is a well-intentioned wound. I still remember

       the city as something it was kept from becoming.

       I am still looking for a language not covered in ash.

       I am still mourning the loss of a life that never was.

Tension

Internal Conflict: The speaker’s memories and loss of environments significant to them. 

External Conflict: Future children growing up in a completely different city.

Here Nor There

by Clint Smith, 2019

       New Orleans is a bouquet of pixelated memories.

       A caravan of embers that refuse to turn to ash.

       I have tried to write these poems before, you know,

       the ones about the infamous storm & its majestic

(5)  violence. The flood water that swallowed a city

       & then sat still as night. I think often of the things

       it took from us that we’ll never know we could

       have had. Counterfactuals have always been a bed

       of thorns in a room with nowhere else to lay your

(10) head. To imagine what could have been but never

       was. The Christmases with my children in the home

       where I once opened presents. Kicking a soccer ball

       with my daughter against the same playground wall

       where I imagined a life of goals & glory. That home

(15) is now silent as a sky of smoke. That wall is no longer 

       a wall but a smattering of bricks in a lonely field.

       I tremble at what I already know is likely, that my

       children will not know this city beyond the holidays

       & funerals that bring them here. That I no longer

(20) know the city I have always worn like a tattoo.

       Nostalgia is a well-intentioned wound. I still remember

       the city as something it was kept from becoming.

       I am still looking for a language not covered in ash.

       I am still mourning the loss of a life that never was.

Theme

The poem illustrates the extent to which people are affected by/hold onto memories and locations from their childhood. It also highlights the emotional devastation brought by storms that is often overlooked by the physical death and destruction. Lastly, it attempts to convey the difficulty of explaining a past that no longer exists to future generations.

What is Othello's tragic flaw? 

Insecurities, mainly due to internalized racism, which lead to extreme jealousy

Why is Othello and Desdemona’s marriage so scandalous?

She’s a white Venetian woman, and he’s “inferior” due to his race. Society believes he’s unsuitable for her.

What reasoning does Othello give for killing Desdemona?

She was unfaithful, and if she wasn’t killed, she would go on to betray more men. After killing her, he states that he wasn’t himself and it isn’t his fault.

What does Othello compare Desdemona’s skin to before he kills her?

Snow and alabaster

What are the double meanings of the use of “fair” and “black” throughout the play?

Race and beauty (white = white (race) and beautiful/clean, black = black (race) and dirty, evil)

What is the “green-eyed monster” in Act 3, Scene 3, Line 196?

Jealousy

How does the audience view Iago throughout the play?

Iago is initially portrayed as honest and caring, however it quickly becomes apparent to the audience that he’s anything but. He’s a manipulative liar, driven by jealousy.

How does Iago view and treat women?

He misogynistically views them as unworthy of equal treatment, referring to them as “whores” and other derogatory terms. He treats them as inferior to himself.

Why is this line from Iago ironic? “As I am an honest man, I thought you had received some bodily wound” (Shakespeare 2.3.285-286).

It’s ironic as not only is he extremely dishonest, he indirectly started the bar fight–were Cassio severely injured, it would be his fault.

What is Iago and Roderigo’s dynamic/relationship like?

Roderigo is vulnerably relying on Iago; he pays him money due to the belief that Iago will make Desdemona fall in love with him. Iago exploits his vulnerability and stupidity.

What is the significance of this line said by Iago: “Poor and content is rich, and rich enough;/ But riches fineless is as poor as winter /To him that ever fears he shall be poor” (Shakespeare 3.3.202-204)?

It suggests that wealth isn’t found in material goods, but instead in content in one’s life. 

Why is it easy for Othello to believe that Cassio is having an affair with Desdemona?

He’s extremely insecure about his race, so he’s quick to believe that she’s cheating on him with a white man

What is Desdemona accused of that “against all rules of nature” in Act I?

She falls in love with Othello–an inferior man–despite being raised to be perfect.

How did Desdemona and Othello fall in love?

Othello told Desdemona his life experiences and she fell in love

What female roles are represented by Desdemona? How is she both a “woman of her time” and not? How is she viewed/treated by the different men in the play?

Desdemona is traditional in the sense that she doesn’t stand up for herself–she lets herself be controlled by the men in her lives, to whom she remains loyal. However, she’s also a rebel; she disobeys social expectations in order to marry Othello, despite his “inferior” race.

What female roles are represented by Emilia? How is she both a “woman of her time” and not? How is she viewed/treated by the different men in the play?

Emilia is a feminist, with surprisingly progressive views for her time. She stands up to and sometimes disobeys men, resulting in her gaining even less respect from them. Her refusal to obey ultimately ends in her losing her life as she disobeys Iago’s orders.

What does Emilia compare the way men treat women to in Act 3 Scene 4?

She refers to them as stomachs, and women are the food made only to satisfy their appetite. 

Why is it surprising that Emilia tells everyone about Iago’s treachery?

Society expected her to remain loyal to him because she’s his wife.

I went to the store, I bought a banana

I went to the store and bought a banana.

The differences in Neanderthal and modern human faces are partially due to the way bone deposits formed, though Neanderthals accrued bone deposits through adolescence, humans experience bone resorption during childhood, leading to a flatter facial structure.

The differences in Neanderthal and modern human faces are partially due to the way bone deposits formed; though Neanderthals accrued bone deposits through adolescence, humans experience bone resorption during childhood, leading to a flatter facial structure.

Walking toward the forest, the sun began to set.

As we were walking toward the forest, the sun began to set.

While they are fierce rivals when playing on opposite sides of the net Serena and Venus Williams together have won 13 Grand Slam titles in doubles tennis.

While they are fierce rivals when playing on opposite sides of the net, Serena and Venus Williams together have won 13 Grand Slam titles in doubles tennis.

Having completed her finals, a summer road trip was planned.

After having completed her finals, she planned a summer road trip.

The dog was barking all night so she was tired the next day.

The dog was barking all night, so she was tired the next day.

Not having followed the recipe closely, the cake was a disaster.

Because she didn’t follow the recipe closely, the cake was a disaster.

He was quite sleepy but he continued to study.

He was quite sleepy, but he continued to study.

Since the discovery of China's Terracotta Army in 1974, archaeologists have studied the 7,000 statues, but they have not yet determined if each statue was based on an actual person.

Since the discovery of China's Terracotta Army in 1974, archaeologists have studied the 7,000 statues; they have not yet determined if each statue was based on an actual person.

In order to retrieve and study the bones of the early hominids. The paleoanthropologist hired a team of explorers who were thin enough to fit through the cave's extremely narrow chute.

In order to retrieve and study the bones of the early hominids, the paleoanthropologist hired a team of explorers who were thin enough to fit through the cave's extremely narrow chute.