How does the author illustrate the careful and creative ways elizabeth van lew used to send messages to general grant in the story spies in petticoats

Read the point that is being made and the illustration that follows it. point: gilgamesh is a courageous leader. illustration: enkidu is frightened of humbaba and wants to turn back, but he tells gilgamesh, "you go into the dreadful forest, you kill humbaba and win the fame.” which explanation best connects this illustration to the point being made? enkidu also tells gilgamesh that he “will return now to great-walled uruk” and that all men will know he has been a coward. although enkidu fears for his own life, he is thoughtless and does not necessarily fear for the lives of others. enkidu is deeply fearful of humbaba, and he strongly believes that gilgamesh has the courage and ability to defeat humbaba alone. this proves that enkidu does not believe that anyone can defeat humbaba, even if he thinks gilgamesh should at least try.

The ancient greek poet. homer, is credited with writing the odyssey. however, scholars still debate whether homer wrote the entire epic. what is the main reason for this uncertainty? o some sections of the epic are written in different poetic styles and forms. most ancient greeks could not read or write, so the epic was first written in latin ob och storytellers repeated the epic aloud for centuries before it was ever written down. od the epic was a fictional account, so the identity of its author may have been fictionalized as well.

Tia and lin had been best friends since kindergarten. both avid soccer players, the girls decided to try out for the high school team together. unfortunately, there was just one open spot, so only one of the girls would be chosen. they both worked hard, and on tryout day, they did their best. when the team roster came out, lin was excited to see that she had made the team but sad that tia had not. tia was happy for her friend and vowed to work harder so she would make the team the next year. which sentence is the exposition of the passage