Converting 9.45 to a Mixed Number

Learn how to convert the decimal number 9.45 into a mixed number step by step.

PDF

To convert the decimal number 9.45 into a mixed number, follow these steps:

  1. Identify the whole number: The number before the decimal point (9) is the whole number.
  2. Convert the decimal to a fraction: Take the decimal part (0.45) and convert it into a fraction. Since 0.45 is equal to 45/100, we simplify this fraction. To do this, find the greatest common divisor (GCD) of 45 and 100, which is 5.
  3. Simplify the fraction: Divide both the numerator and the denominator by 5:
    • 45 ÷ 5 = 9
    • 100 ÷ 5 = 20
  4. This simplifies 0.45 to 9/20.
  5. Combine the whole number and the fraction: Now combine the whole number (9) with the simplified fraction (9/20). Therefore, the mixed number is:

9 9/20

Thus, 9.45 as a mixed number is 9 9/20.

Ask a followup question

Previously Asked Questions 20

#1
The author’s treatment of literary elements shapes your understanding of how the story unfolds and the overall meaning the writer conveys. One important literary element is point of view, the perspective from which the story is told. The narrator is the voice that tells the story; as a result, the reader only knows what the narrator is able to tell. Types of point of view include: first-person: told by a character in the work whose knowledge is limited by his or her own experiences third-person omniscient: told by a voice outside the story who knows the thoughts and feelings of all the characters third-person limited: told by a voice outside the story who focuses on one character’s thoughts and feelings An Occurrence at Owl Creek Bridge Short Story by Ambrose Bierce BACKGROUND Ambrose Bierce (1842–1914) Born into a poor family, Bierce spent his early years on an Indiana farm until he left home at 15 to work at a newspaper. Three years later, he joined the Union army to fight in the Civil War. After the war, he moved to San Francisco and started publishing short stories in the 1870s. The contrast between soldiers’ dreams of glory and the senselessness of warfare became a recurring theme in his work, as is seen in “An Occurrence at Owl Creek Bridge.” SETTING A PURPOSE As you read, think about how the story is structured. How does its organization build suspense and keep you interested? How does it reveal the events leading up to the protagonist’s dilemma to the reader? I Aman stood upon a railroad bridge in northern Alabama, looking down into the swift water twenty feet below. The man’s hands were behind his back, the wrists bound with a cord. A rope closely encircled his neck. It was attached to a stout cross-timber above his head and the slack fell to the level of his knees. Some loose boards laid upon the sleepers supporting the metals of the railway supplied a footing for him and his executioners—two private soldiers of the Federal army, directed by a sergeant who in civil life may have been a deputy sheriff. At a short remove upon the same temporary platform was an officer in the uniform of his rank, armed. He was a captain. A sentinel at each end of the bridge stood with his rifle in the position known as “support,” that is to say, vertical in front of the left shoulder, the hammer resting on the forearm thrown straight across the chest—a formal and unnatural position, enforcing an erect carriage of the body. It did not appear to be the duty of these two men to know what was occurring at the center of the bridge; they merely blockaded the two ends of the foot planking that traversed it. Annotate: Highlight details in paragraph 1 that tell where and when the story takes place. Beyond one of the sentinels nobody was in sight; the railroad ran straight away into a forest for a hundred yards, then, curving, was lost to view. Doubtless there was an outpost farther along. The other bank of the stream was open ground—a gentle acclivity topped with a stockade of vertical tree trunks, loopholed for rifles, with a single embrasure through which protruded the muzzle of a brass cannon commanding the bridge. Midway of the slope between bridge and fort were the spectators—a single company of infantry in line, at “parade rest,” the butts of the rifles on the ground, the barrels inclining slightly backward against the right shoulder, the hands crossed upon the stock. A lieutenant stood at the right of the line, the point of his sword upon the ground, his left hand resting upon his right. Excepting the group of four at the center of the bridge, not a man moved. The company faced the bridge, staring stonily, motionless. The sentinels, facing the banks of the stream, might have been statues to adorn the bridge. The captain stood with folded arms, silent, observing the work of his subordinates, but making no sign. Death is a dignitary who when he comes announced is to be received with formal manifestations of respect, even by those most familiar with him. In the code of military etiquette silence and fixity are forms of deference. The man who was engaged in being hanged was apparently about thirty-five years of age. He was a civilian, if one might judge from his habit, which was that of a planter. His features were good—a straight nose, firm mouth, broad forehead, from which his long, dark hair was combed straight back, falling behind his ears to the collar of his well-fitting frock-coat. He wore a mustache and pointed beard, but no whiskers; his eyes were large and dark gray, and had a kindly expression which one would hardly have expected in one whose neck was in the hemp. Evidently this was no vulgar assassin. The liberal military code makes provision for hanging many kinds of persons, and gentlemen are not excluded. Annotate: Highlight the phrases that indicate point of view in paragraph 3. Evaluate: What point of view is used in paragraph 3? How does the point of view affect the perception of events? The preparations being complete, the two private soldiers stepped aside and each drew away the plank upon which he had been standing. The sergeant turned to the captain, saluted and placed himself immediately behind that officer, who in turn moved apart one pace. These movements left the condemned man and the sergeant standing on the two ends of the same plank, which spanned three of the cross-ties of the bridge. The end upon which the civilian stood almost, but not quite, reached a fourth. This plank had been held in place by the weight of the captain; it was now held by that of the sergeant. At a signal from the former the latter would step aside, the plank would tilt and the condemned man go down between two ties. The arrangement commended itself to his judgment as simple and effective. His face had not been covered nor his eyes bandaged. He looked a moment at his “unsteadfast footing,” then let his gaze wander to the swirling water of the stream racing madly beneath his feet. A piece of dancing driftwood caught his attention and his eyes followed it down the current. How slowly it appeared to move! What a sluggish stream! He closed his eyes in order to fix his last thoughts upon his wife and children. The water, touched to gold by the early sun, the brooding mists under the banks at some distance down the stream, the fort, the soldiers, the piece of drift—all had distracted him. And now he became conscious of a new disturbance. Striking through the thought of his dear ones was a sound which he could neither ignore nor understand, a sharp, distinct, metallic percussion like the stroke of a blacksmith’s hammer upon the anvil; it had the same ringing quality. He wondered what it was, and whether immeasurably distant or near by—it seemed both. Its recurrence was regular, but as slow as the tolling of a death knell. He awaited each stroke with impatience and—he knew not why—apprehension. The intervals of silence grew progressively longer; the delays became maddening. With their greater infrequency the sounds increased in strength and sharpness. They hurt his ear like the thrust of a knife; he feared he would shriek. What he heard was the ticking of his watch. He unclosed his eyes and saw again the water below him. “If I could free my hands,” he thought, “I might throw off the noose and spring into the stream. By diving I could evade the bullets and, swimming vigorously, reach the bank, take to the woods and get away home. My home, thank God, is as yet outside their lines; my wife and little ones are still beyond the invader’s farthest advance.” As these thoughts, which have here to be set down in words, were flashed into the doomed man’s brain rather than evolved from it the captain nodded to the sergeant. The sergeant stepped aside. Annotate: Highlight details that suggest the main character is thinking about escaping. II Peyton Farquhar was a well-to-do planter, of an old and highly respected Alabama family. Being a slave owner and like other slave owners a politician he was naturally an original secessionist and ardently devoted to the Southern cause. Circumstances of an imperious nature, which it is unnecessary to relate here, had prevented him from taking service with the gallant army that had fought the disastrous campaigns ending with the fall of Corinth, and he chafed under the inglorious restraint, longing for the release of his energies, the larger life of the soldier, the opportunity for distinction. That opportunity, he felt, would come, as it comes to all in war time. Meanwhile he did what he could. No service was too humble for him to perform in aid of the South, no adventure too perilous for him to undertake if consistent with the character of a civilian who was at heart a soldier, and who in good faith and without too much qualification assented to at least a part of the frankly villainous dictum that all is fair in love and war. One evening while Farquhar and his wife were sitting on a rustic bench near the entrance to his grounds, a gray-clad soldier rode up to the gate and asked for a drink of water. Mrs. Farquhar was only too happy to serve him with her own white hands. While she was fetching the water her husband approached the dusty horseman and inquired eagerly for news from the front. “The Yanks are repairing the railroads,” said the man, “and are getting ready for another advance. They have reached the Owl Creek bridge, put it in order and built a stockade on the north bank. The commandant has issued an order, which is posted everywhere, declaring that any civilian caught interfering with the railroad, its bridges, tunnels or trains will be summarily hanged. I saw the order.” “How far is it to the Owl Creek bridge?” Farquhar asked. “About thirty miles.” “Is there no force on this side the creek?” “Only a picket post half a mile out, on the railroad, and a single sentinel at this end of the bridge.” “Suppose a man—a civilian and student of hanging—should elude the picket post and perhaps get the better of the sentinel,” said Farquhar, smiling, “what could he accomplish?” The soldier reflected. “I was there a month ago,” he replied. “I observed that the flood of last winter had lodged a great quantity of driftwood against the wooden pier at this end of the bridge. It is now dry and would burn like tow.” The lady had now brought the water, which the soldier drank. He thanked her ceremoniously, bowed to her husband and rode away. An hour later, after nightfall, he repassed the plantation, going northward in the direction from which he had come. He was a Federal scout. III As Peyton Farquhar fell straight downward through the bridge he lost consciousness and was as one already dead. From this state he was awakened—ages later, it seemed to him—by the pain of a sharp pressure upon his throat, followed by a sense of suffocation. Keen, poignant agonies seemed to shoot from his neck downward through every fiber of his body and limbs. These pains appeared to flash along well-defined lines of ramification and to beat with an inconceivably rapid periodicity. They seemed like streams of pulsating fire heating him to an intolerable temperature. As to his head, he was conscious of nothing but a feeling of fullness—of congestion. These sensations were unaccompanied by thought. The intellectual part of his nature was already effaced; he had power only to feel, and feeling was torment. He was conscious of motion. Encompassed in a luminous cloud, of which he was now merely the fiery heart, without material substance, he swung through unthinkable arcs of oscillation, like a vast pendulum. Then all at once, with terrible suddenness, the light about him shot upward with the noise of a loud plash; a frightful roaring was in his ears, and all was cold and dark. The power of thought was restored; he knew that the rope had broken and he had fallen into the stream. There was no additional strangulation; the noose about his neck was already suffocating him and kept the water from his lungs. To die of hanging at the bottom of a river!—the idea seemed to him ludicrous. He opened his eyes in the darkness and saw above him a gleam of light, but how distant, how inaccessible! He was still sinking, for the light became fainter and fainter until it was a mere glimmer. Then it began to grow and brighten, and he knew that he was rising toward the surface—knew it with reluctance, for he was now very comfortable. “To be hanged and drowned,” he thought, “that is not so bad; but I do not wish to be shot. No; I will not be shot; that is not fair.” He was not conscious of an effort, but a sharp pain in his wrist apprised him that he was trying to free his hands. He gave the struggle his attention, as an idler might observe the feat of a juggler, without interest in the outcome. What splendid effort!—what magnificent, what superhuman strength! Ah, that was a fine endeavor! Bravo! The cord fell away; his arms parted and floated upward, the hands dimly seen on each side in the growing light. He watched them with a new interest as first one and then the other pounced upon the noose at his neck. They tore it away and thrust it fiercely aside, its undulations resembling those of a water-snake. “Put it back, put it back!” He thought he shouted these words to his hands, for the undoing of the noose had been succeeded by the direst pang that he had yet experienced. His neck ached horribly; his brain was on fire; his heart, which had been fluttering faintly, gave a great leap, trying to force itself out at his mouth. His whole body was racked and wrenched with an insupportable anguish! But his disobedient hands gave no heed to the command. They beat the water vigorously with quick, downward strokes, forcing him to the surface. He felt his head emerge; his eyes were blinded by the sunlight; his chest expanded convulsively, and with a supreme and crowning agony his lungs engulfed a great draught of air, which instantly he expelled in a shriek! Annotate: Reread paragraph 19. Highlight details and sensory language that illustrate Peyton Farquhar’s panic. Synthesize: How do these sensory details contribute to your understanding of his character? He was now in full possession of his physical senses. They were, indeed, preternaturally keen and alert. Something in the awful disturbance of his organic system had so exalted and refined them that they made record of things never before perceived. He felt the ripples upon his face and heard their separate sounds as they struck. He looked at the forest on the bank of the stream, saw the individual trees, the leaves and the veining of each leaf—saw the very insects upon them: the locusts, the brilliant-bodied flies, the gray spiders stretching their webs from twig to twig. He noted the prismatic colors in all the dewdrops upon a million blades of grass. The humming of the gnats that danced above the eddies of the stream, the beating of the dragon-flies’ wings, the strokes of the water-spiders’ legs, like oars which had lifted their boat—all these made audible music. A fish slid along beneath his eyes and he heard the rush of its body parting the water. He had come to the surface facing down the stream; in a moment the visible world seemed to wheel slowly round, himself the pivotal point, and he saw the bridge, the fort, the soldiers upon the bridge, the captain, the sergeant, the two privates, his executioners. They were in silhouette against the blue sky. They shouted and gesticulated, pointing at him. The captain had drawn his pistol, but did not fire; the others were unarmed. Their movements were grotesque and horrible, their forms gigantic. Suddenly he heard a sharp report and something struck the water smartly within a few inches of his head, spattering his face with spray. He heard a second report, and saw one of the sentinels with his rifle at his shoulder, a light cloud of blue smoke rising from the muzzle. The man in the water saw the eye of the man on the bridge gazing into his own through the sights of the rifle. He observed that it was a gray eye and remembered having read that gray eyes were keenest, and that all famous marksmen had them. Nevertheless, this one had missed. Annotate: Highlight details in paragraphs 21 and 22 that describe the soldiers’ reaction to Farquhar’s escape. A counter-swirl had caught Farquhar and turned him half round; he was again looking into the forest on the bank opposite the fort. The sound of a clear, high voice in a monotonous singsong now rang out behind him and came across the water with a distinctness that pierced and subdued all other sounds, even the beating of the ripples in his ears. Although no soldier, he had frequented camps enough to know the dread significance of that deliberate, drawling, aspirated chant; the lieutenant on shore was taking a part in the morning’s work. How coldly and pitilessly—with what an even, calm intonation, presaging, and enforcing tranquillity in the men—with what accurately measured intervals fell those cruel words: “Attention, company! . . . Shoulder arms! . . . Ready! . . . Aim! . . . Fire!” Farquhar dived—dived as deeply as he could. The water roared in his ears like the voice of Niagara, yet he heard the dulled thunder of the volley and, rising again toward the surface, met shining bits of metal, singularly flattened, oscillating slowly downward. Some of them touched him on the face and hands, then fell away, continuing their descent. One lodged between his collar and neck; it was uncomfortably warm and he snatched it out. As he rose to the surface, gasping for breath, he saw that he had been a long time under water; he was perceptibly farther down stream—nearer to safety. The soldiers had almost finished reloading; the metal ramrods flashed all at once in the sunshine as they were drawn from the barrels, turned in the air, and thrust into their sockets. The two sentinels fired again, independently and ineffectually. The hunted man saw all this over his shoulder; he was now swimming vigorously with the current. His brain was as energetic as his arms and legs; he thought with the rapidity of lightning. Annotate: Highlight details in paragraphs 25–27 that reveal Farquhar’s perspective. Analyze: How does learning about these events from Farquhar’s perspective build suspense? “The officer,” he reasoned, “will not make that martinet’s error a second time. It is as easy to dodge a volley as a single shot. He has probably already given the command to fire at will. God help me, I cannot dodge them all!” An appalling plash within two yards of him was followed by a loud, rushing sound, diminuendo, which seemed to travel back through the air to the fort and died in an explosion which stirred the very river to its deeps! A rising sheet of water curved over him, fell down upon him, blinded him, strangled him! The cannon had taken a hand in the game. As he shook his head free from the commotion of the smitten water he heard the deflected shot humming through the air ahead, and in an instant it was cracking and smashing the branches in the forest beyond. “They will not do that again,” he thought; “the next time they will use a charge of grape. I must keep my eye upon the gun; the smoke will apprise me—the report arrives too late; it lags behind the missile. That is a good gun.” Suddenly he felt himself whirled round and round—spinning like a top. The water, the banks, the forests, the now distant bridge, fort and men—all were commingled and blurred. Objects were represented by their colors only; circular horizontal streaks of color—that was all he saw. He had been caught in a vortex and was being whirled on with a velocity of advance and gyration that made him giddy and sick. In a few moments he was flung upon the gravel at the foot of the left bank of the stream—the southern bank—and behind a projecting point which concealed him from his enemies. The sudden arrest of his motion, the abrasion of one of his hands on the gravel, restored him, and he wept with delight. He dug his fingers into the sand, threw it over himself in handfuls and audibly blessed it. It looked like diamonds, rubies, emeralds; he could think of nothing beautiful which it did not resemble. The trees upon the bank were giant garden plants; he noted a definite order in their arrangement, inhaled the fragrance of their blooms. A strange, roseate light shone through the spaces among their trunks and the wind made in their branches the music of æolian harps. He had no wish to perfect his escape—was content to remain in that enchanting spot until retaken. A whiz and rattle of grapeshot among the branches high above his head roused him from his dream. The baffled cannoneer had fired him a random farewell. He sprang to his feet, rushed up the sloping bank, and plunged into the forest. All that day he traveled, laying his course by the rounding sun. The forest seemed interminable; nowhere did he discover a break in it, not even a woodman’s road. He had not known that he lived in so wild a region. There was something uncanny in the revelation. By night fall he was fatigued, footsore, famishing. The thought of his wife and children urged him on. At last he found a road which led him in what he knew to be the right direction. It was as wide and straight as a city street, yet it seemed untraveled. No fields bordered it, no dwelling anywhere. Not so much as the barking of a dog suggested human habitation. The black bodies of the trees formed a straight wall on both sides, terminating on the horizon in a point, like a diagram in a lesson in perspective. Overhead, as he looked up through this rift in the wood, shone great golden stars looking unfamiliar and grouped in strange constellations. He was sure they were arranged in some order which had a secret and malign significance. The wood on either side was full of singular noises, among which—once, twice, and again, he distinctly heard whispers in an unknown tongue. His neck was in pain and lifting his hand to it he found it horribly swollen. He knew that it had a circle of black where the rope had bruised it. His eyes felt congested; he could no longer close them. His tongue was swollen with thirst; he relieved its fever by thrusting it forward from between his teeth into the cold air. How softly the turf had carpeted the untraveled avenue—he could no longer feel the roadway beneath his feet! Doubtless, despite his suffering, he had fallen asleep while walking, for now he sees another scene—perhaps he has merely recovered from a delirium. He stands at the gate of his own home. All is as he left it, and all bright and beautiful in the morning sunshine. He must have traveled the entire night. As he pushes open the gate and passes up the wide white walk, he sees a flutter of female garments; his wife, looking fresh and cool and sweet, steps down from the veranda to meet him. At the bottom of the steps she stands waiting, with a smile of ineffable joy, an attitude of matchless grace and dignity. Ah, how beautiful she is! He springs forward with extended arms. As he is about to clasp her he feels a stunning blow upon the back of the neck; a blinding white light blazes all about him with a sound like the shock of a cannon—then all is darkness and silence! Annotate: Reread paragraphs 34–36. Mark details that suggest Peyton Farquhar is going to escape his situation. Infer: What can you infer about how he is going to escape? Does this support or contradict what happens at the end of the story? Peyton Farquhar was dead; his body, with a broken neck, swung gently from side to side beneath the timbers of the Owl Creek bridge.
Click to hide answer

Setting (paragraph 1)

The story takes place on a railroad bridge in northern Alabama, above swift water twenty feet below. The Federal soldiers and the references to the Union army place the action during the Civil War. The passage also mentions the early sun, indicating morning.

Point of view (paragraph 3)

Phrases that signal the narrator’s perspective include “if one might judge from his habit,” “Evidently this was no vulgar assassin,” and “one would hardly have expected.” The story is told in third person by a narrator outside the events. The narrator describes Farquhar from the outside and also offers judgments about his appearance and character. This makes the description seem authoritative, while the narrator’s comments shape the reader’s impression of Farquhar as a gentleman rather than a common criminal.

Farquhar thinking about escape

Details that show him imagining escape include: “If I could free my hands,” “throw off the noose and spring into the stream,” “evade the bullets,” “reach the bank,” “take to the woods and get away home,” and his thought that his “wife and little ones” are still beyond the Union lines.

Panic and sensory detail

Farquhar’s panic is conveyed through intense physical and sensory descriptions: the sharp pain and suffocation in his throat; “streams of pulsating fire” through his body; the “frightful roaring” in his ears; the sudden shift from light to cold and darkness; and his lungs filling with air as he gives a shriek. These details show how completely fear and pain overwhelm him. They also make the reader experience the moment from inside his desperate, disoriented consciousness.

Soldiers’ reaction to his escape

The soldiers shout and gesture, point at Farquhar, and aim or fire their weapons. The captain draws his pistol; a sentinel fires a rifle; the lieutenant gives the commands “Aim!” and “Fire!” The soldiers then reload and fire again, while the cannon also shoots at him. Their organized, persistent response makes his escape seem extremely dangerous.

Farquhar’s perspective and suspense (paragraphs 25–27)

The passage reveals his perspective through his thoughts and judgments, such as “God help me, I cannot dodge them all!”, “I must keep my eye upon the gun,” and “That is a good gun.” It also follows what he sees and feels as the cannon fires, the current spins him around, and he reaches the bank. Because the reader experiences the escape through Farquhar’s limited, urgent perspective, each shot and obstacle feels immediate and unpredictable. This builds suspense about whether he will survive.

Apparent escape and the ending

Details that make escape seem possible include Farquhar reaching the southern bank, hiding behind a point that “concealed him from his enemies,” entering the forest, finding a road, and finally seeing his home and wife. These events lead the reader to expect that he may escape. However, the ending reveals that the escape was an imagined experience during the final moments of his life: Farquhar is dead, and his body is still hanging beneath the bridge. The apparent escape therefore contradicts what actually happens and creates the story’s surprise ending.

Asked 11/5/2026
#2
The author’s treatment of literary elements shapes your understanding of how the story unfolds and the overall meaning the writer conveys. One important literary element is point of view, the perspective from which the story is told. The narrator is the voice that tells the story; as a result, the reader only knows what the narrator is able to tell. Types of point of view include: first-person: told by a character in the work whose knowledge is limited by his or her own experiences third-person omniscient: told by a voice outside the story who knows the thoughts and feelings of all the characters third-person limited: told by a voice outside the story who focuses on one character’s thoughts and feelings An Occurrence at Owl Creek Bridge Short Story by Ambrose Bierce BACKGROUND Ambrose Bierce (1842–1914) Born into a poor family, Bierce spent his early years on an Indiana farm until he left home at 15 to work at a newspaper. Three years later, he joined the Union army to fight in the Civil War. After the war, he moved to San Francisco and started publishing short stories in the 1870s. The contrast between soldiers’ dreams of glory and the senselessness of warfare became a recurring theme in his work, as is seen in “An Occurrence at Owl Creek Bridge.” SETTING A PURPOSE As you read, think about how the story is structured. How does its organization build suspense and keep you interested? How does it reveal the events leading up to the protagonist’s dilemma to the reader? I Aman stood upon a railroad bridge in northern Alabama, looking down into the swift water twenty feet below. The man’s hands were behind his back, the wrists bound with a cord. A rope closely encircled his neck. It was attached to a stout cross-timber above his head and the slack fell to the level of his knees. Some loose boards laid upon the sleepers supporting the metals of the railway supplied a footing for him and his executioners—two private soldiers of the Federal army, directed by a sergeant who in civil life may have been a deputy sheriff. At a short remove upon the same temporary platform was an officer in the uniform of his rank, armed. He was a captain. A sentinel at each end of the bridge stood with his rifle in the position known as “support,” that is to say, vertical in front of the left shoulder, the hammer resting on the forearm thrown straight across the chest—a formal and unnatural position, enforcing an erect carriage of the body. It did not appear to be the duty of these two men to know what was occurring at the center of the bridge; they merely blockaded the two ends of the foot planking that traversed it. Annotate: Highlight details in paragraph 1 that tell where and when the story takes place. Beyond one of the sentinels nobody was in sight; the railroad ran straight away into a forest for a hundred yards, then, curving, was lost to view. Doubtless there was an outpost farther along. The other bank of the stream was open ground—a gentle acclivity topped with a stockade of vertical tree trunks, loopholed for rifles, with a single embrasure through which protruded the muzzle of a brass cannon commanding the bridge. Midway of the slope between bridge and fort were the spectators—a single company of infantry in line, at “parade rest,” the butts of the rifles on the ground, the barrels inclining slightly backward against the right shoulder, the hands crossed upon the stock. A lieutenant stood at the right of the line, the point of his sword upon the ground, his left hand resting upon his right. Excepting the group of four at the center of the bridge, not a man moved. The company faced the bridge, staring stonily, motionless. The sentinels, facing the banks of the stream, might have been statues to adorn the bridge. The captain stood with folded arms, silent, observing the work of his subordinates, but making no sign. Death is a dignitary who when he comes announced is to be received with formal manifestations of respect, even by those most familiar with him. In the code of military etiquette silence and fixity are forms of deference. The man who was engaged in being hanged was apparently about thirty-five years of age. He was a civilian, if one might judge from his habit, which was that of a planter. His features were good—a straight nose, firm mouth, broad forehead, from which his long, dark hair was combed straight back, falling behind his ears to the collar of his well-fitting frock-coat. He wore a mustache and pointed beard, but no whiskers; his eyes were large and dark gray, and had a kindly expression which one would hardly have expected in one whose neck was in the hemp. Evidently this was no vulgar assassin. The liberal military code makes provision for hanging many kinds of persons, and gentlemen are not excluded. Annotate: Highlight the phrases that indicate point of view in paragraph 3. Evaluate: What point of view is used in paragraph 3? How does the point of view affect the perception of events? The preparations being complete, the two private soldiers stepped aside and each drew away the plank upon which he had been standing. The sergeant turned to the captain, saluted and placed himself immediately behind that officer, who in turn moved apart one pace. These movements left the condemned man and the sergeant standing on the two ends of the same plank, which spanned three of the cross-ties of the bridge. The end upon which the civilian stood almost, but not quite, reached a fourth. This plank had been held in place by the weight of the captain; it was now held by that of the sergeant. At a signal from the former the latter would step aside, the plank would tilt and the condemned man go down between two ties. The arrangement commended itself to his judgment as simple and effective. His face had not been covered nor his eyes bandaged. He looked a moment at his “unsteadfast footing,” then let his gaze wander to the swirling water of the stream racing madly beneath his feet. A piece of dancing driftwood caught his attention and his eyes followed it down the current. How slowly it appeared to move! What a sluggish stream! He closed his eyes in order to fix his last thoughts upon his wife and children. The water, touched to gold by the early sun, the brooding mists under the banks at some distance down the stream, the fort, the soldiers, the piece of drift—all had distracted him. And now he became conscious of a new disturbance. Striking through the thought of his dear ones was a sound which he could neither ignore nor understand, a sharp, distinct, metallic percussion like the stroke of a blacksmith’s hammer upon the anvil; it had the same ringing quality. He wondered what it was, and whether immeasurably distant or near by—it seemed both. Its recurrence was regular, but as slow as the tolling of a death knell. He awaited each stroke with impatience and—he knew not why—apprehension. The intervals of silence grew progressively longer; the delays became maddening. With their greater infrequency the sounds increased in strength and sharpness. They hurt his ear like the thrust of a knife; he feared he would shriek. What he heard was the ticking of his watch. He unclosed his eyes and saw again the water below him. “If I could free my hands,” he thought, “I might throw off the noose and spring into the stream. By diving I could evade the bullets and, swimming vigorously, reach the bank, take to the woods and get away home. My home, thank God, is as yet outside their lines; my wife and little ones are still beyond the invader’s farthest advance.” As these thoughts, which have here to be set down in words, were flashed into the doomed man’s brain rather than evolved from it the captain nodded to the sergeant. The sergeant stepped aside. Annotate: Highlight details that suggest the main character is thinking about escaping. II Peyton Farquhar was a well-to-do planter, of an old and highly respected Alabama family. Being a slave owner and like other slave owners a politician he was naturally an original secessionist and ardently devoted to the Southern cause. Circumstances of an imperious nature, which it is unnecessary to relate here, had prevented him from taking service with the gallant army that had fought the disastrous campaigns ending with the fall of Corinth, and he chafed under the inglorious restraint, longing for the release of his energies, the larger life of the soldier, the opportunity for distinction. That opportunity, he felt, would come, as it comes to all in war time. Meanwhile he did what he could. No service was too humble for him to perform in aid of the South, no adventure too perilous for him to undertake if consistent with the character of a civilian who was at heart a soldier, and who in good faith and without too much qualification assented to at least a part of the frankly villainous dictum that all is fair in love and war. One evening while Farquhar and his wife were sitting on a rustic bench near the entrance to his grounds, a gray-clad soldier rode up to the gate and asked for a drink of water. Mrs. Farquhar was only too happy to serve him with her own white hands. While she was fetching the water her husband approached the dusty horseman and inquired eagerly for news from the front. “The Yanks are repairing the railroads,” said the man, “and are getting ready for another advance. They have reached the Owl Creek bridge, put it in order and built a stockade on the north bank. The commandant has issued an order, which is posted everywhere, declaring that any civilian caught interfering with the railroad, its bridges, tunnels or trains will be summarily hanged. I saw the order.” “How far is it to the Owl Creek bridge?” Farquhar asked. “About thirty miles.” “Is there no force on this side the creek?” “Only a picket post half a mile out, on the railroad, and a single sentinel at this end of the bridge.” “Suppose a man—a civilian and student of hanging—should elude the picket post and perhaps get the better of the sentinel,” said Farquhar, smiling, “what could he accomplish?” The soldier reflected. “I was there a month ago,” he replied. “I observed that the flood of last winter had lodged a great quantity of driftwood against the wooden pier at this end of the bridge. It is now dry and would burn like tow.” The lady had now brought the water, which the soldier drank. He thanked her ceremoniously, bowed to her husband and rode away. An hour later, after nightfall, he repassed the plantation, going northward in the direction from which he had come. He was a Federal scout. III As Peyton Farquhar fell straight downward through the bridge he lost consciousness and was as one already dead. From this state he was awakened—ages later, it seemed to him—by the pain of a sharp pressure upon his throat, followed by a sense of suffocation. Keen, poignant agonies seemed to shoot from his neck downward through every fiber of his body and limbs. These pains appeared to flash along well-defined lines of ramification and to beat with an inconceivably rapid periodicity. They seemed like streams of pulsating fire heating him to an intolerable temperature. As to his head, he was conscious of nothing but a feeling of fullness—of congestion. These sensations were unaccompanied by thought. The intellectual part of his nature was already effaced; he had power only to feel, and feeling was torment. He was conscious of motion. Encompassed in a luminous cloud, of which he was now merely the fiery heart, without material substance, he swung through unthinkable arcs of oscillation, like a vast pendulum. Then all at once, with terrible suddenness, the light about him shot upward with the noise of a loud plash; a frightful roaring was in his ears, and all was cold and dark. The power of thought was restored; he knew that the rope had broken and he had fallen into the stream. There was no additional strangulation; the noose about his neck was already suffocating him and kept the water from his lungs. To die of hanging at the bottom of a river!—the idea seemed to him ludicrous. He opened his eyes in the darkness and saw above him a gleam of light, but how distant, how inaccessible! He was still sinking, for the light became fainter and fainter until it was a mere glimmer. Then it began to grow and brighten, and he knew that he was rising toward the surface—knew it with reluctance, for he was now very comfortable. “To be hanged and drowned,” he thought, “that is not so bad; but I do not wish to be shot. No; I will not be shot; that is not fair.” He was not conscious of an effort, but a sharp pain in his wrist apprised him that he was trying to free his hands. He gave the struggle his attention, as an idler might observe the feat of a juggler, without interest in the outcome. What splendid effort!—what magnificent, what superhuman strength! Ah, that was a fine endeavor! Bravo! The cord fell away; his arms parted and floated upward, the hands dimly seen on each side in the growing light. He watched them with a new interest as first one and then the other pounced upon the noose at his neck. They tore it away and thrust it fiercely aside, its undulations resembling those of a water-snake. “Put it back, put it back!” He thought he shouted these words to his hands, for the undoing of the noose had been succeeded by the direst pang that he had yet experienced. His neck ached horribly; his brain was on fire; his heart, which had been fluttering faintly, gave a great leap, trying to force itself out at his mouth. His whole body was racked and wrenched with an insupportable anguish! But his disobedient hands gave no heed to the command. They beat the water vigorously with quick, downward strokes, forcing him to the surface. He felt his head emerge; his eyes were blinded by the sunlight; his chest expanded convulsively, and with a supreme and crowning agony his lungs engulfed a great draught of air, which instantly he expelled in a shriek! Annotate: Reread paragraph 19. Highlight details and sensory language that illustrate Peyton Farquhar’s panic. Synthesize: How do these sensory details contribute to your understanding of his character? He was now in full possession of his physical senses. They were, indeed, preternaturally keen and alert. Something in the awful disturbance of his organic system had so exalted and refined them that they made record of things never before perceived. He felt the ripples upon his face and heard their separate sounds as they struck. He looked at the forest on the bank of the stream, saw the individual trees, the leaves and the veining of each leaf—saw the very insects upon them: the locusts, the brilliant-bodied flies, the gray spiders stretching their webs from twig to twig. He noted the prismatic colors in all the dewdrops upon a million blades of grass. The humming of the gnats that danced above the eddies of the stream, the beating of the dragon-flies’ wings, the strokes of the water-spiders’ legs, like oars which had lifted their boat—all these made audible music. A fish slid along beneath his eyes and he heard the rush of its body parting the water. He had come to the surface facing down the stream; in a moment the visible world seemed to wheel slowly round, himself the pivotal point, and he saw the bridge, the fort, the soldiers upon the bridge, the captain, the sergeant, the two privates, his executioners. They were in silhouette against the blue sky. They shouted and gesticulated, pointing at him. The captain had drawn his pistol, but did not fire; the others were unarmed. Their movements were grotesque and horrible, their forms gigantic. Suddenly he heard a sharp report and something struck the water smartly within a few inches of his head, spattering his face with spray. He heard a second report, and saw one of the sentinels with his rifle at his shoulder, a light cloud of blue smoke rising from the muzzle. The man in the water saw the eye of the man on the bridge gazing into his own through the sights of the rifle. He observed that it was a gray eye and remembered having read that gray eyes were keenest, and that all famous marksmen had them. Nevertheless, this one had missed. Annotate: Highlight details in paragraphs 21 and 22 that describe the soldiers’ reaction to Farquhar’s escape. A counter-swirl had caught Farquhar and turned him half round; he was again looking into the forest on the bank opposite the fort. The sound of a clear, high voice in a monotonous singsong now rang out behind him and came across the water with a distinctness that pierced and subdued all other sounds, even the beating of the ripples in his ears. Although no soldier, he had frequented camps enough to know the dread significance of that deliberate, drawling, aspirated chant; the lieutenant on shore was taking a part in the morning’s work. How coldly and pitilessly—with what an even, calm intonation, presaging, and enforcing tranquillity in the men—with what accurately measured intervals fell those cruel words: “Attention, company! . . . Shoulder arms! . . . Ready! . . . Aim! . . . Fire!” Farquhar dived—dived as deeply as he could. The water roared in his ears like the voice of Niagara, yet he heard the dulled thunder of the volley and, rising again toward the surface, met shining bits of metal, singularly flattened, oscillating slowly downward. Some of them touched him on the face and hands, then fell away, continuing their descent. One lodged between his collar and neck; it was uncomfortably warm and he snatched it out. As he rose to the surface, gasping for breath, he saw that he had been a long time under water; he was perceptibly farther down stream—nearer to safety. The soldiers had almost finished reloading; the metal ramrods flashed all at once in the sunshine as they were drawn from the barrels, turned in the air, and thrust into their sockets. The two sentinels fired again, independently and ineffectually. The hunted man saw all this over his shoulder; he was now swimming vigorously with the current. His brain was as energetic as his arms and legs; he thought with the rapidity of lightning. Annotate: Highlight details in paragraphs 25–27 that reveal Farquhar’s perspective. Analyze: How does learning about these events from Farquhar’s perspective build suspense? “The officer,” he reasoned, “will not make that martinet’s error a second time. It is as easy to dodge a volley as a single shot. He has probably already given the command to fire at will. God help me, I cannot dodge them all!” An appalling plash within two yards of him was followed by a loud, rushing sound, diminuendo, which seemed to travel back through the air to the fort and died in an explosion which stirred the very river to its deeps! A rising sheet of water curved over him, fell down upon him, blinded him, strangled him! The cannon had taken a hand in the game. As he shook his head free from the commotion of the smitten water he heard the deflected shot humming through the air ahead, and in an instant it was cracking and smashing the branches in the forest beyond. “They will not do that again,” he thought; “the next time they will use a charge of grape. I must keep my eye upon the gun; the smoke will apprise me—the report arrives too late; it lags behind the missile. That is a good gun.” Suddenly he felt himself whirled round and round—spinning like a top. The water, the banks, the forests, the now distant bridge, fort and men—all were commingled and blurred. Objects were represented by their colors only; circular horizontal streaks of color—that was all he saw. He had been caught in a vortex and was being whirled on with a velocity of advance and gyration that made him giddy and sick. In a few moments he was flung upon the gravel at the foot of the left bank of the stream—the southern bank—and behind a projecting point which concealed him from his enemies. The sudden arrest of his motion, the abrasion of one of his hands on the gravel, restored him, and he wept with delight. He dug his fingers into the sand, threw it over himself in handfuls and audibly blessed it. It looked like diamonds, rubies, emeralds; he could think of nothing beautiful which it did not resemble. The trees upon the bank were giant garden plants; he noted a definite order in their arrangement, inhaled the fragrance of their blooms. A strange, roseate light shone through the spaces among their trunks and the wind made in their branches the music of æolian harps. He had no wish to perfect his escape—was content to remain in that enchanting spot until retaken. A whiz and rattle of grapeshot among the branches high above his head roused him from his dream. The baffled cannoneer had fired him a random farewell. He sprang to his feet, rushed up the sloping bank, and plunged into the forest. All that day he traveled, laying his course by the rounding sun. The forest seemed interminable; nowhere did he discover a break in it, not even a woodman’s road. He had not known that he lived in so wild a region. There was something uncanny in the revelation. By night fall he was fatigued, footsore, famishing. The thought of his wife and children urged him on. At last he found a road which led him in what he knew to be the right direction. It was as wide and straight as a city street, yet it seemed untraveled. No fields bordered it, no dwelling anywhere. Not so much as the barking of a dog suggested human habitation. The black bodies of the trees formed a straight wall on both sides, terminating on the horizon in a point, like a diagram in a lesson in perspective. Overhead, as he looked up through this rift in the wood, shone great golden stars looking unfamiliar and grouped in strange constellations. He was sure they were arranged in some order which had a secret and malign significance. The wood on either side was full of singular noises, among which—once, twice, and again, he distinctly heard whispers in an unknown tongue. His neck was in pain and lifting his hand to it he found it horribly swollen. He knew that it had a circle of black where the rope had bruised it. His eyes felt congested; he could no longer close them. His tongue was swollen with thirst; he relieved its fever by thrusting it forward from between his teeth into the cold air. How softly the turf had carpeted the untraveled avenue—he could no longer feel the roadway beneath his feet! Doubtless, despite his suffering, he had fallen asleep while walking, for now he sees another scene—perhaps he has merely recovered from a delirium. He stands at the gate of his own home. All is as he left it, and all bright and beautiful in the morning sunshine. He must have traveled the entire night. As he pushes open the gate and passes up the wide white walk, he sees a flutter of female garments; his wife, looking fresh and cool and sweet, steps down from the veranda to meet him. At the bottom of the steps she stands waiting, with a smile of ineffable joy, an attitude of matchless grace and dignity. Ah, how beautiful she is! He springs forward with extended arms. As he is about to clasp her he feels a stunning blow upon the back of the neck; a blinding white light blazes all about him with a sound like the shock of a cannon—then all is darkness and silence! Annotate: Reread paragraphs 34–36. Mark details that suggest Peyton Farquhar is going to escape his situation. Infer: What can you infer about how he is going to escape? Does this support or contradict what happens at the end of the story? Peyton Farquhar was dead; his body, with a broken neck, swung gently from side to side beneath the timbers of the Owl Creek bridge.
Click to show answer
#3
What divides us as human beings? ANALYZE ARGUMENTATIVE TEXTS FOCUS ON GENRE Abraham Lincoln delivered his Second Inaugural Address in Washington, DC, as the American Civil War continued to rage. The address was not a victory speech, but recent events made it appear that the Union was close to winning the war. In his address, Lincoln made an argument to his fellow countrymen for the best way forward for the country. In an argumentative text, a writer expresses a position to an audience on a particular issue. When you analyze an argument, it is important to identify and analyze its structural elements. As you read, add examples of the structural elements of Lincoln’s argument in the chart. ANALYZE AUTHOR’S PURPOSE The reason why an author composed a text is called the author’s purpose. The purpose of an argumentative text is to persuade the audience to believe in or do something. As you read, note that the structure of Lincoln’s argument supports his desire to convince his audience to take action. An author may use rhetorical devices to help achieve his or her purpose. Rhetorical devices are techniques that influence the way a text is understood by the audience. Lincoln uses the following rhetorical devices in his speech: Diction: the words the writer chooses to include Parallelism: the use of similar grammatical constructions to express ideas that are related Allusion: quotations or references to a familiar person, place, event, or literary work As you read, note the ways Lincoln uses rhetorical devices to impact the audience’s understanding of his argument and achieve his purpose. Critical Vocabulary engross venture deprecate Wring 1. If I were to________ a guess, I would say that we will have a quiz today. 2. In that movie, the lawyer had to_______ a confession out of the criminal. 3. The filmmaker used special effects to help ______ the audience into film. 4. I don’t usually like to_______ anyone’s work, but my brother did a poor job of mowing the lawn. To see how many Critical Vocabulary words you already know, use them to complete the sentences. LANGUAGE CONVENTIONS Balanced Sentences A balanced sentence is made up of two or more clauses that are parallel in structure, roughly equal in length, and combine contrasting ideas that are equally important. Lincoln’s style in his Second Inaugural Address is marked by complex, balanced sentences and paragraphs. Syntax is the way an author arranges words in phrases, clauses, and sentences. Both parties deprecated war; but one of them would make war rather than let the nation survive; and the other would accept war rather than let it perish. Meaning: The South was willing to fight a war rather than abandon its attempt to secede from the United States. Meaning: The North was willing to fight a war rather than allow the United States to break apart. Lincoln believed preserving the Union was essential. He would accept the terrible cost of war rather than allow the nation established by the Founding Fathers to be destroyed. As you read the Second Inaugural Address, note other examples of balanced sentences. How do they emphasize Lincoln’s ideas? Background Abraham Lincoln (1809–1865), elected president in 1860, had told the South in his First Inaugural Address, “In your hands, my dissatisfied fellow countrymen, and not in mine, is the momentous issue of civil war.” Lincoln had promised to prevent the expansion of slavery. The southern states feared he would abolish slavery, and they eventually seceded. This led to the start of the Civil War. SETTING A PURPOSE As you read, pay attention to the issues and ideas that are important to Lincoln. Note details that will help you understand what he valued and why he wanted the Union restored. FELLOW COUNTRYMEN: At this second appearing to take the oath of the presidential office, there is less occasion for an extended address than there was at the first. Then a statement, somewhat in detail, of course to be pursued, seemed fitting and proper. Now, at the expiration of four years, during which public declarations have been constantly called forth on every point and phase of the great contest which still absorbs the attention and engrosses the energies of the nation, little that is new could be presented. The progress of our arms, upon which all else chiefly depends, is as well known to the public as to myself; and it is, I trust, reasonably satisfactory and encouraging to all. With high hope for the future, no prediction in regard to it is ventured. On the occasion corresponding to this four years ago, all thoughts were anxiously directed to an impending civil war. All dreaded it—all sought to avert it. While the inaugural address was being delivered from this place, devoted altogether to saving the Union without war, insurgent agents were in the city seeking to destroy it without war—seeking to dissolve the Union, and divide effects, by negotiation. Both parties deprecated war; but one of them would make war rather than let the nation survive; and the other would accept war rather than let it perish. And the war came. ANALYZE AUTHOR’S PURPOSE Annotate: Highlight the words in paragraph 2 that tell what Lincoln spoke about during his First Inaugural Address. Infer: What do these words tell the reader about Lincoln’s view of the Union? One-eighth of the whole population were colored slaves, not distributed generally over the Union, but localized in the Southern part of it. These slaves constituted a peculiar and powerful interest. All knew that this interest was, somehow, the cause of the war. To strengthen, perpetuate, and extend this interest was the object for which the insurgents would rend the Union, even by war; while the government claimed no right to do more than to restrict the territorial enlargement of it. Neither party expected for the war the magnitude or the duration which it has already attained. Neither anticipated that the cause of the conflict might cease with, or even before, the conflict itself should cease. Each looked for an easier triumph, and a result less fundamental and astounding. Both read the same Bible, and pray to the same God; and each invokes his aid against the other. It may seem strange that any men should dare to ask a just God’s assistance in wringing their bread from the sweat of other men’s faces; but let us judge not, that we be not judged. The prayers of both could not be answered—that of neither has been answered fully. LANGUAGE CONVENTIONS Annotate: Highlight the words that are repeated at the beginning of sentences in paragraph 4. Evaluate: How does the use of these repeated words create a balance in the paragraph? The Almighty has his own purposes. “Woe unto the world because of offences! for it must needs be that offences come; but woe to that man by whom the offence cometh.” If we shall suppose that American slavery is one of those offences which, in the providence of God, must needs come, but which, having continued through his appointed time, he now wills to remove, and that he gives to both North and South this terrible war, as the woe due to those by whom the offence came, shall we discern therein any departure from those divine attributes which the believers in a living God always ascribe to him? Fondly do we hope—fervently do we pray—that this mighty scourge of war may speedily pass away. Yet, if God wills that it continue until all the wealth piled by the bondman’s two hundred and fifty years of unrequited toil shall be sunk, and until every drop of blood drawn with the lash shall be paid by another drawn with the sword, as was said three thousand years ago, so still it must be said, “The judgments of the Lord are true and righteous altogether.” QUOTED WORDS Notice & Note: Lincoln includes quotations from the Bible in his speech. Highlight the quotations in paragraph 5. Analyze: How do these quotations relate to Lincoln’s argument? Explain With malice toward none; with charity for all: with firmness in the right, as God gives us to see the right, let us strive on to finish the work we are in; to bind up the nation’s wounds; to care for him who shall have borne the battle, and for his widow, and his orphan—to do all which may achieve and cherish a just and lasting peace among ourselves, and with all nations. ANALYZE ARGUMENTATIVE TEXTS Annotate: Highlight the words in paragraph 6 that describe what Lincoln wants the country to be like in the future. Analyze: What is Lincoln’s call to action to his audience in this paragraph? xd
Click to show answer
#4
10 Marketing Strategies Guaranteed to Grow ANY Business (PROVEN & PROFITABLE) this is a YouTube video by Adam erhart tell me 20 facts he said
Click to show answer
#5
In the Haudenosaunee (Iroquois) creation story 'World on the Turtle's Back', Sky Woman's twin sons—the Right-Handed Twin and the Left-Handed Twin—work to shape the world and keep balance by creating opposing forces. Here are three common examples (details vary by tell, but the idea is the same): 1) Day and Night: The Right-Handed Twin is often said to create daylight and life, while the Left-Handed Twin brings night, darkness, and storms. The cycle of day and night, and the contrasting weather, maintains balance in the world. 2) Helpful and Harmful Creatures: The Right-Handed Twin creates many beneficial animals (for example deer, beaver, songbirds) that support ecosystems and human life; the Left-Handed Twin creates challenging or dangerous beings (predators, pests) that regulate populations and remind people to live with humility and caution. 3) Landscapes and Weather: The Right-Handed Twin shapes life-sustaining landscapes (fertile soils, forests, predictable seasons) that nourish living beings; the Left-Handed Twin shapes harsher environments (rough terrain, storms) that test travelers, diversify habitats, and ensure ecological balance. Together these creations prevent a world that is too easy and help it endure. shorten this
Click to show answer
#6
World on a turtles back. Give three examples of their creations (right handed twin, and left handed twin) created balance in the world.
Click to show answer
#7
After months of planning, you and two of your friends pull off a major scam and steal $10 million dollars from a Vegas Casino. Your tracks are completely covered, there’s no way they can track it to you guys and you’ve escaped to a far away country. While you lay in your bed, dreaming of spending your share, you overhear your friends in the next room—plotting to kill you! Write this scene and what happens next. (250 Word Limit) write as an 11grader no ai detection and no big words
Click to show answer
#8
After arriving at your favorite lunch destination and eating your favorite meal, your waitress rushes to your table. She looks panicked. She grabs you and looks into your eyes, but doesn’t say anything. Finally, she turns toward the wait staff, who is all gathered just outside the kitchen, and yells, “We only have 6 minutes until he dies! We need to save him.” Write this scene from your perspective. (250 Word Limit) no big words no ai detection and write as an 11 grader
Click to show answer
#9
Your wealthy Aunt Edna has died and left you all of her money. At first you’re excited, as you’ve been living paycheck-to-paycheck your whole life, and this newfound money offers you endless possibilities. But, in her will, Aunt Edna left one big catch—you are no longer allowed to use social media for the rest of your life. If you violate this stipulation, all of the money is to be given to your most unlikable cousin, Wilfred. (250 Word Limit) no big words and no ai detection
Click to show answer
#10
Your wealthy Aunt Edna has died and left you all of her money. At first you’re excited, as you’ve been living paycheck-to-paycheck your whole life, and this newfound money offers you endless possibilities. But, in her will, Aunt Edna left one big catch—you are no longer allowed to use social media for the rest of your life. If you violate this stipulation, all of the money is to be given to your most unlikable cousin, Wilfred. (250 Word Limit) type it as an 11th grader
Click to show answer
#11
From Ms. Tunstall's HMH Unit Lesson, the one I learned the most from was how to analyze the consequences of ambition and support my conclusions with precise textual evidence from both poetry and drama. In Macbeth (Act 5, Scene 5, lines 19-28), the lines 'Tomorrow, and tomorrow, and tomorrow' and 'Out, out, brief candle!' along with 'Life's but a walking shadow' reveal that pursuing power without weighing the costs leads to emptiness as time reveals the outcomes of those choices. This evidence shows why the claim that chasing quick success or unchecked ambition erodes purpose is valid. By using these moments from the poem-drama to back up my reasoning, I learned to connect literary analysis to real-life decisions, and I can apply the lesson by planning long-term steps, weighing costs and benefits, and aligning my actions with my commitments rather than chasing shortcuts (Macbeth, Act 5, Scene 5, lines 1-2, 19-28). The repetition of 'tomorrow' in the soliloquy emphasizes time's relentlessness and reinforces the life-applicability of the unit (Macbeth, Act 5, Scene 5, lines 1-2). Overall, Ms. Tunstall's unit taught me to ground my arguments in precise, citeable evidence and to translate literary moments into thoughtful, life-relevant decisions. rewrite this with no big words and shorter sentences
Click to show answer
#12
OK ai this I what the teacher sent me : Describe and explain an HMH Unit Lesson (taught by Ms. Tunstall) that you learned the most from. (See 18 May -DO NOW response) What did you learn from the lesson, and how does the unit lesson apply to your own life? (written in your own words)? (See 19 May - EXIT TICKET response) Include cited evidence as support in response. Body Paragraph OUTLINE: (Minimum sentences) A. Reason and evidence Topic Sentence: First sentence - state your topic/claim 2nd Sentence - Provide EVIDENCE (directly from source) 3rd Sentence - Provide Explanation (why does your evidence mean) 4th sentence- Why are you using the evidence to support your claim 5th sentence - SUMMARIZE this paragraph - led back to the topic sentence Use evidence from a poem to support your response: Write your response as a complete (minimum five-sentence) paragraph. A Play as a Source: Use evidence from the text to support your responses. (Act *#, Scene *#, Line *#) *Include specific numbers . and she told use to use our previous assignments to complete the major grade help me these are the previus assignment:I learned that pursuing power or goals without weighing their consequences can erode purpose and leave us feeling empty when time reveals the outcomes of our choices (Macbeth, Act 5, Scene 5, lines 19-28).I can apply this by planning long-term steps, weighing costs and benefits, and choosing paths that align with my commitments and responsibilities rather than chasing quick success. What i learned in a poem from Act, 5 scene 5. Its that it starts with 'tomorrow, and tomorrow, and tomorrow", and it asks how time, fate, and ambition change what the words mean and how the mood feels. By reading closely i noticed how 'tomorrow' repeats, quick comparisons like 'out, out, brief candle!' and life as a 'walking shadow to see Macbeths despair and to think about how fragile life is. Explaining how the idea of time and what happens because of choices connects to our life today.
Click to show answer
#13
EXIT TICKET - 19 MAY 2026 Immersive Reader Grade:N/A View Grade Information. Opens a dialogue Due: Tuesday, May 19, 2026 at 11:59 pm EXIT TICKET - 19 May 2026 What did you learn from the lesson (see 18 May - Do Now), and how does the unit lesson apply to your own life? (written in your own words)? Include cited evidence as support in response. TYPES of SOURCES Plays as Sources: Use evidence from the text to support your responses. (Act *#, Scene *#, Line *#) *Include specific numbers Poems as Sources: Use evidence from a poem to support your response: Author's Last Name, First Name. "Title of Poem." Title of Website, Name of Organization Affiliated with the Website, Date of copyright or date last modified/updated, URL. Accessed Day Month Year site was visited. In-Text Citation Example Poem includes line numbers (Author of Poem's Last Name, line(s) Line Number(s)) - Example: (Dawes, lines 10-12) that it was my teacher new lesson use my previus sumbition to anwer thatexit ticket with this: What i learned in a poem from Act, 5 scene 5. Its that it starts with 'tomorrow, and tomorrow, and tomorrow", and it asks how time, fate, and ambition change what the words mean and how the mood feels. By reading closely i noticed how 'tomorrow' repeats, quick comparisons like 'out, out, brief candle!' and life as a 'walking shadow to see Macbeths despair and to think about how fragile life is. Explaining how the idea of time and what happens because of choices connects to our life today.
Click to show answer
#14
EXIT TICKET - 19 MAY 2026 Immersive Reader Grade:N/A View Grade Information. Opens a dialogue Due: Tuesday, May 19, 2026 at 11:59 pm EXIT TICKET - 19 May 2026 What did you learn from the lesson (see 18 May - Do Now), and how does the unit lesson apply to your own life? (written in your own words)? Include cited evidence as support in response. TYPES of SOURCES Plays as Sources: Use evidence from the text to support your responses. (Act *#, Scene *#, Line *#) *Include specific numbers Poems as Sources: Use evidence from a poem to support your response: Author's Last Name, First Name. "Title of Poem." Title of Website, Name of Organization Affiliated with the Website, Date of copyright or date last modified/updated, URL. Accessed Day Month Year site was visited. In-Text Citation Example Poem includes line numbers (Author of Poem's Last Name, line(s) Line Number(s)) - Example: (Dawes, lines 10-12) that it was my teacher new lesson use my previus sumbition to anwer thatexit ticket with this: What i learned in a poem from Act, 5 scene 5. Its that it starts with 'tomorrow, and tomorrow, and tomorrow", and it asks how time, fate, and ambition change what the words mean and how the mood feels. By reading closely i noticed how 'tomorrow' repeats, quick comparisons like 'out, out, brief candle!' and life as a 'walking shadow to see Macbeths despair and to think about how fragile life is. Explaining how the idea of time and what happens because of choices connects to our life today.
Click to show answer
#15
this is the lesson for may 18: What i learned in a poem from Act, 5 scene 5. Its that it starts with 'tomorrow, and tomorrow, and tomorrow", and it asks how time, fate, and ambition change what the words mean and how the mood feels. By reading closely i noticed how 'tomorrow' repeats, quick comparisons like 'out, out, brief candle!' and life as a 'walking shadow to see Macbeths despair and to think about how fragile life is. Explaining how the idea of time and what happens because of choices connects to our life today. EXIT TICKET - 19 May 2026 What did you learn from the lesson (see 18 May - Do Now), and how does the unit lesson apply to your own life? (written in your own words)? Include cited evidence as support in response. TYPES of SOURCES Plays as Sources: Use evidence from the text to support your responses. (Act *#, Scene *#, Line *#) *Include specific numbers Poems as Sources: Use evidence from a poem to support your response: Author's Last Name, First Name. "Title of Poem." Title of Website, Name of Organization Affiliated with the Website, Date of copyright or date last modified/updated, URL. Accessed Day Month Year site was visited. In-Text Citation Example Poem includes line numbers (Author of Poem's Last Name, line(s) Line Number(s)) - Example: (Dawes, lines 10-12) Online Article: Author. "Title." Website, Date, URL. You MUST include at least one direct quotation in your paragraph. Support your response with evidence from HMH's Text Sources. 3 sentences
Click to show answer
#16
this is the lesson for may 18: What i learned in a poem from Act, 5 scene 5. Its that it starts with 'tomorrow, and tomorrow, and tomorrow", and it asks how time, fate, and ambition change what the words mean and how the mood feels. By reading closely i noticed how 'tomorrow' repeats, quick comparisons like 'out, out, brief candle!' and life as a 'walking shadow to see Macbeths despair and to think about how fragile life is. Explaining how the idea of time and what happens because of choices connects to our life today. EXIT TICKET - 19 May 2026 What did you learn from the lesson (see 18 May - Do Now), and how does the unit lesson apply to your own life? (written in your own words)? Include cited evidence as support in response. TYPES of SOURCES Plays as Sources: Use evidence from the text to support your responses. (Act *#, Scene *#, Line *#) *Include specific numbers Poems as Sources: Use evidence from a poem to support your response: Author's Last Name, First Name. "Title of Poem." Title of Website, Name of Organization Affiliated with the Website, Date of copyright or date last modified/updated, URL. Accessed Day Month Year site was visited. In-Text Citation Example Poem includes line numbers (Author of Poem's Last Name, line(s) Line Number(s)) - Example: (Dawes, lines 10-12) Online Article: Author. "Title." Website, Date, URL. You MUST include at least one direct quotation in your paragraph. Support your response with evidence from HMH's Text Sources.
Click to show answer
#17
this is the lesson for may 18: What i learned in a poem from Act, 5 scene 5. Its that it starts with 'tomorrow, and tomorrow, and tomorrow", and it asks how time, fate, and ambition change what the words mean and how the mood feels. By reading closely i noticed how 'tomorrow' repeats, quick comparisons like 'out, out, brief candle!' and life as a 'walking shadow to see Macbeths despair and to think about how fragile life is. Explaining how the idea of time and what happens because of choices connects to our life today. EXIT TICKET - 19 May 2026 What did you learn from the lesson (see 18 May - Do Now), and how does the unit lesson apply to your own life? (written in your own words)? Include cited evidence as support in response.
Click to show answer
#18
Unit 5 centers on Macbeth’s soliloquy in Act 5, Scene 5, beginning with 'Tomorrow, and tomorrow, and tomorrow,' to examine how time, fate, and ambition shape meaning and mood. Through close-reading, students analyze repetition (the refrain of 'tomorrow'), stark imagery, and metaphor—such as 'Out, out, brief candle!' and Life's 'a walking shadow' and 'a tale told by an idiot'—to uncover Macbeth’s despair and to reflect on life’s fragility. They then apply these insights in an evidence-based task, explaining how the theme of time and consequence connects to contemporary life or a modern text and what these lines suggest about facing limited time and inevitable outcomes. Evidence from Macbeth, Act 5, Scene 5 includes the lines 'Tomorrow, and tomorrow, and tomorrow' and 'Out, out, brief candle!' which you can cite in your evidence. rewrite this but with no big words
Click to show answer
#19
The Unit 5 lesson centers on Shakespeare's line 'Tomorrow, and tomorrow, and tomorrow' from Macbeth to explore how time, fate, and ambition shape meaning and mood. Students practice close reading, analyzing how repetition, imagery (such as the 'brief candle'), and metaphor reveal Macbeth’s despair and a broader reflection on life’s fragility. They then apply these insights in an evidence-based task, explaining how the theme connects to contemporary life or a modern text and what it suggests about confronting time and consequence. rewrite this paragraph add evidence and what line e did u get it from
Click to show answer
#20
The Unit 5 lesson centers on Shakespeare's line 'Tomorrow, and tomorrow, and tomorrow' from Macbeth to explore how time, fate, and ambition shape meaning and mood. Students practice close reading, analyzing how repetition, imagery (such as the 'brief candle'), and metaphor reveal Macbeth’s despair and a broader reflection on life’s fragility. They then apply these insights in an evidence-based task, explaining how the theme connects to contemporary life or a modern text and what it suggests about confronting time and consequence. add evidence to this
Click to show answer