50 points just help me

Read this excerpt from The Jungle Book by Rudyard Kipling.

A black shadow dropped down into the circle. It was Bagheera, the Black Panther, inky black all over, but with the panther markings showing up in certain lights like the pattern of watered silk. Everybody knew Bagheera, and nobody cared to cross his path; for he was as cunning as Tabaqui, as bold as the wild buffalo, and as reckless as the wounded elephant. But he had a voice as soft as wild honey dripping from a tree, and a skin softer than down.

What does the sensory language in the line, "But he had a voice as soft as wild honey dripping from a tree” show the readers about Bagheera?

OHe can charm others into agreeing or doing things for him when he speaks.
OHe is quite smart and can be very deceptive when he wants to be.
OHe is feared by many of the other animals in the jungle, including the wolves.
OHe can behave very courageously but also lose control.

Answer:

AA

Explanation:

The sensory language in the line, "But he had a voice as soft as wild honey dripping from a tree” show he can charm others into agreeing or doing things for him when he speaks to the readers about Bagheera. The correct option is A.

The Jungle opens on the wedding day of Jurgis and Ona, two Lithuanian immigrants, highlighting many of the customs that Marija and Teta Elzbieta, among other family members, try to preserve in their Chicago-based households.

Nobody wanted to get in his way because Bagheera was as cunning as Tabaqui, as fearless as a wild buffalo, and as reckless as an injured elephant. However, he had skin that was softer than down and a voice that was as soft as wild honey dripping from a tree. In the two books collectively known as "The Jungle Books," animals converse verbally and occasionally nonverbally with humans. However, the only human who speaks their language is in the Mowgli stories.

Thus, the ideal selection is option A.

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A summary about polar dream text/memoir

Even without the appropriate toys and clothes, lessons in the art of being feminine lay all around me and I absorbed them all; the fairy tales that were read to me at night, the brightly colored advertisements I pored over in magazines before I learned to decipher the words, the movies I saw, the comic books I hoarded, the radio soap operas I happily followed whenever I had to stay in bed with a cold. I loved being a little girl, or rather I loved being a fairy princess, for that was who I thought I was.

As I passed through a stormy adolescence to a stormy maturity, femininity increasingly became an exasperation, a brilliant subtle esthetic that was bafflingly inconsistent at the same time that it was minutely, demandingly concrete, a rigid code of appearance and behavior defined by do’s and don’t-do’s that went against my rebellious grain. Femininity was a challenge thrown down to the female sex, a challenge no proud, self-respecting young woman could afford to ignore, particularly one with enormous ambition that she nursed in secret, alternately feeding or starving its inchoate life in tremendous confusion.

“Don’t lose your femininity” and “Isn’t it remarkable how she manages to retain her femininity?” had terrifying implications. They spoke of a bottom-line failure so irreversible that nothing else mattered. The pinball machine was registered “tilt,” the game had been called. Disqualification was marked on the forehead of a woman whose femininity was lost. No records would be entered in her name, for she had destroyed her birthright in her wretched, ungainly effort to imitate a man. She walked in limbo, this hapless creature, and it occurred to me that one day I might see her when I looked in the mirror. If the danger was so palpable that warning notices were freely posted, wasn’t it possible that the small bundle of resentments I carried around in secret might spill out and place the mark on my own forehead? Whatever quarrels with femininity I had I kept to myself; whatever handicaps femininity imposed, they were mine to deal with alone, for there was no women’s movement to ask the tough questions, or so brazenly disregard the rules.

Femininity, in essence, is a romantic sentiment, a nostalgic tradition of imposed limitations. Even as it hurries forward in the 1980s, putting on lipstick and high heels to appear well dressed, it trips on the ruffled petticoats and hoopskirts of an era gone by. Invariably and necessarily, femininity is something that women had more of in the past, not only in the historic past of prior generations, but in each woman’s personal past as well—in the virginal innocence that is replaced by knowledge, in the dewy cheek that is coarsened by age, in the “inherent nature” that a woman seems to misplace so forgetfully whenever she steps out of bounds. Why should this be so? The XX chromosomal message has not been scrambled, the estrogen-dominated hormonal balance is generally as biology intended, the reproductive organs, whatever use one has made of them, are usually in place, the breasts of whatever size are most often where they should be. But clearly, biological femaleness is not enough.

Femininity always demands more. It must constantly reassure its audience by a willing demonstration of difference, even when one does not exist in nature, or it must seize and embrace a natural variation and compose a rhapsodic symphony upon the notes. Suppose one doesn’t care to, has other things on her mind, is clumsy or tone-deaf despite the best instruction and training? To fail at the feminine difference is to appear not to care about men, and to risk the loss of their attention and approval. To be insufficiently feminine is viewed as a failure in core sexual identity, or as a failure to care sufficiently about oneself, for a woman found wanting will be appraised (and will appraise herself) as mannish or neutered or simply unattractive, as men have defined these terms.

We are talking, admittedly, about an exquisite esthetic. Enormous pleasure can be extracted from feminine pursuits as a creative outlet or purely as relaxation; indeed, indulgence for the sake of fun, or art, or attention, is among femininity’s great joys. But the chief attraction (and the central paradox, as well) is the competitive edge that femininity seems to promise in the unending struggle to survive, and perhaps to triumph.

In the first two paragraphs, the author describes experiences from her girlhood and early adulthood primarily to


A. Show that attitudes toward femininity can change over time

B. Imply that uncritically embracing femininity is immature

C. Argue that the strictures of femininity are less severe for young girls

D. Foreground the comforting aspects of adhering to feminine ideals

E. Introduce two different attitudes toward femininity

You can easily see the difference between the way they deal with Margot and the way they deal with me. For example, Margot broke the vacuum cleaner, and because of that we've been without light for the rest of the day. Mother said, “Well, Margot, it’s easy to see you’re not used to working; otherwise, you’d have known better than to yank the plug out by the cord.” Margot made some reply, and that was the end of the story. —The Diary of a Young Girl, Anne Frank Read the diary entries and use the drop-down menus to answer the questions. How does Mother’s reaction to Margot’s mistake sound? How would Anne describe her mother’s treatment of her as compared to her treatment of Margot?

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gets
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Explanation :

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"Lords who owned land in Japan certainly had armies.
These professional soldiers fought when they were
called on. There were also farmers whom lords could
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"Lords who owned land in Japan certainly had
armies. These professional soldiers fought when they
were called on. However, lords also had farmers
whom they could call on for help when needed."
O "However, lords who owned land in Japan certainly
had armies. These professional soldiers fought when
they were called on. Lords also had farmers whom
they could call on for help when needed."
O "Lords who owned land in Japan certainly had
armies. However, these professional soldiers fought
when they were called on. Lords also had farmers
whom they could call on for help when needed."
"Lords who owned land in Japan certainly had
armies. These professional soldiers, however, fought
when they were called on. Lords also had farmers
whom they could call on for help when needed."