Which rhetorical appeal does mark antony use in the above excerpt? mark antony uses an appeal to ethos by first recalling the memory of caesar’s military success and then showing his body stabbed by the conspirators. mark antony uses an appeal to pathos by first recalling the memory of caesar’s military success and then showing his body stabbed by the conspirators. mark antony uses an appeal to logos by first recalling the memory of caesar’s military success and then showing his body stabbed by the conspirators. mark antony uses an appeal to symbolism by first recalling the memory of caesar’s military success and then showing his body stabbed by the conspirators.

Iwill give brainliest banquo. how goes the night, boy? fleance. the moon is down, i have not heard the clock. banquo. and she goes down at twelve. fleance: i take't, 'tis later, sir. banquo: hold, take my sword. there's husbandry in heaven, their candles are all out. take thee that too. a heavy summons lies like lead upon me, and yet i would not sleep: merciful powers, restrain in me the cursed thoughts that nature gives way to in repose! using context clues, what is the meaning of the word "candles" and what effect does that have on the play? the night is cloudy, so no one can really see what is happening. there are no stars, which could be considered candles in heaven, so heaven cannot see the sin happening on the earth below the moon is not illuminating the heavens, so everyone up there is asleep. the candles from the surrounding countryside are all out, so macbeth can carry out the murder

What is the climax or crisis, which brings about a change in the plot's direction known as?

In this excerpt from "quality" by john galsworthy, which two parts clearly indicate the literary point of view of the essay? that tenement had a certain quiet distinction; there was no sign upon its face that he made for any of the royal family—merely his own german name of gessler brothers; and in the window a few pairs of boots. i remember that it always troubled me to account for those unvarying boots in the window, for he made only what was ordered, reaching nothing down, and it seemed so inconceivable that what he made could ever have failed to fit. had he bought them to put there? that, too, seemed inconceivable. he would never have tolerated in his house leather on which he had not worked himself. besides, they were too beautiful—the pair of pumps, so inexpressibly slim, the patent leathers with cloth tops, making water come into one's mouth, the tall brown riding boots with marvellous sooty glow, as if, though new, they had been worn a hundred years. those pairs could only have been made by one who saw before him the soul of boot—so truly were they prototypes incarnating the very spirit of all foot-gear. these thoughts, of course, came to me later, though even when i was promoted to him, at the age of perhaps fourteen, some inkling haunted me of the dignity of himself and brother. for to make boots—such boots as he made—seemed to me then, and still seems to me, mysterious and wonderful.