Q: CHAPTER XXXIV Unc' Billy and Old Mrs. Possum

All the way home from school Peter Rabbit did his best to think who it could be who ate flesh, yet wasn't a member of the order of flesh eaters. Every few hops he would stop to think, but all his stopping and all his thinking were in vain, and when he started for school the next morning he was as puzzled as ever. On his way through the Green Forest he passed a certain tree. He was just past and no more when a familiar voice hailed him.

"Morning, Bre'r Rabbit," said the voice. "What's yo' hurry?" Peter stopped abruptly and looked up in that tree. There, peering down at him from a hole high up in the trunk, was a sharp, whitish-gray face, with a pair of twinkling black eyes.

"Hello, Unc' Billy," cried Peter. "How are you and Ol' Mrs. Possum?"

"Po'ly, Peter, Po'ly. We-uns haven't had breakfast yet, so we-uns are feeling po'ly," replied Unc' Billy with a grin.

A sudden thought popped into Peter's head. "Unc' Billy," cried Peter excitedly, "are you a Carnivora?"

Unc' poked his head a little farther out and put his hand behind his ear as if he were a little hard of hearing. "What's that, Bre'r Rabbit? Am I a what?" he demanded.

"Are you a Carnivora?" repeated Peter.

"Ah reckons Ah might be if Ah knew what it was, but as long as Ah don't, Ah reckons I ain't," retorted Unc' Billy. "Ah reckons Ah'm just plain Possum. When Ah wants to be real uppity, Ah puts on an 'o.' Then Ah am Mister Opossum."

1. Unc' Billy
2. Possum
3. No
4. Mrs. Possum
5. No
6. Rabbit
7. who it could be who ate flesh, yet wasn't a member of the order of flesh eaters.
8. No
9. school
10. the Green Forest
11. Yes
12. No
13. black
14. No
15. Po'ly
16. haven't had breakfast
17. "are you a Carnivora?"
18. No
19. Mister Opossum.
20. Possum

Numbered questions:
1. Who does Peter talk to?
2. What kind of animal is he?
3. Does he live alone?
4. Who lives with him?
5. Is Peter a possum too?
6. What is he?
7. What is Peter trying to figure out?
8. Did he figure it out?
9. Where was he headed?
10. Where did he have to go through?
11. Did he know Unc' Billy?
12. Did the possum have red eyes?
13. What color were they?
14. Was the possum low in the tree?
15. How was the possum feeling?
16. Why?
17. What did Peter ask the possum?
18. Did the possum know what he was talking about?
19. What does he call himself when he wants to seem important?
20. What does he go by the rest of the time?

Q: Throughout history, forms of art have gone through periodic abrupt changes called artistic revolutions. Movements have come to an end to be replaced by a new movement markedly different in striking ways. See also cultural movements.

The role of fine art has been to simultaneously express values of the current culture while also offering criticism, balance, or alternatives to any such values that are proving no longer useful. So as times change, art changes. If changes were abrupt they were deemed revolutions. The best artists have predated society's changes due not to any prescience, but because sensitive perceptivity is part of their talent of seeing.

Artists who succeeded enough to portray visions that future generations could live to see, often had to navigate an often treacherous path between their own capacity to see and execute what lesser artists could not, while still appealing to powerful patrons who could finance their visions. For example, paintings glorified aristocracy in the early 17th century when leadership was needed to nationalize small political groupings, but later as leadership became oppressive, satirization increased and subjects were less concerned with leaders and more with more common plights of mankind.

No art owes quite as much to state power as French painting does. It was in the age of absolute monarchy launched by Louix XIV in the 17th century that the likes of Poussin and Le Brun put France in the forefront of European art. Versailles found its stately mirror in the powerful idea of classicism a painting style, enduring in later artists like Ingres, whose austerity and grandeur express the authority of a world where Jove is very much in his throne.

1. Le Brun
2. Versailles
3. forms of art having gone through periodic abrupt changes
4. aristocracy
5. a painting style, enduring in later artists like Ingres, whose austerity and grandeur express the authority of a world where Jove is very much in his throne.
6. artistic revolutions
7. sensitive perceptivity is part of their talent of seeing
8. French painting
9. Louix XIV
10. art
11. Versailles
12. navigate an often treacherous path between their own capacity to see and execute what lesser artists could not, while still appealing to powerful patrons who could finance their visions

Numbered questions:
1. Who put France in the forefront of European art?
2. Who else?
3. What are artistic revolutions?
4. What did paintings glorify in the 17th century?
5. What was classicism?
6. If changes to art were abrupt, what were they called?
7. Why have the best artists predated changes in society?
8. What kind of art owes the most to state power?
9. Who launched the age of absolute monarchy?
10. As times change, what else does too?
11. Who found its mirror in the idea of classicism?
12. What do artists who've succeeded often have to do?

Q: CHAPTER XXIII.

THE TOWN ORDINANCE.

The news which Dick carried to Sawyer was sufficient to create a great excitement in that naturally quiet little town. In addition to what looked like an attempted murder, was the fact that George Harnett, whom they had all respected before the conflagration, and admired after it, was the intended victim.

There was no need for Dick to urge that officers be sent to try to effect the capture of the scoundrels, for almost before he had finished telling the story, a large party of citizens started in search of the men, determined that they should answer for their crime.

Therefore, when Dick returned, it was with so large a following that the physicians rushed out in the greatest haste to insist on their keeping at a respectful distance from the house, lest the noise might affect their patient.

Bob and his partners were anxious to join in the search, and urged Ralph to accompany them, since he could do no good to George by remaining; but he refused to leave his friend, even though he could not aid him, and the party started without him, a look of determination on their faces that boded no good to the professed oil prospectors in case they should be caught.

During all of that night Ralph remained with George, listening to his delirious ravings, as he supposed he was still battling for his life with the men, and just at daybreak Bob returned alone. The search had been even more successful than any of the party had dared to hope for when they set out, for the men had been captured in the woods about four miles from the place where the assault had been made and in the pocket of one of them was the paper from which one corner had been left in George's hand.

1. XXIII
2. THE TOWN ORDINANCE.
3. Bob
4. Ralph
5. listening
6. delirious ravings
7. George Harnet
8. yes
9. no
10. Dick
11. Sawyer
12. urge
13. officers be sent
14. effect the capture
15. scoundrels
16. yew
17. that they should answer for their crime.
18. noise
19. physicians
20. Dick

Numbered questions:
1. what chapter is this ?
2. and the title ?
3. who returned alone ?
4. who remained with gerge ?
5. doing what ?
6. to what ?
7. who was the victim ?
8. was he respected ?
9. was it a large town ?
10. who told the news ?
11. to who ?
12. there was no need for dick to do what ?
13. earg what ?
14. to try and do what ?
15. of who ?
16. did people search for them ?
17. what was the perpose ?
18. what would affect the patient ?
19. who rushed out ?
20. and who returned ?