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NEW QUESTION: 1
Which three statements about link-state routing are true? (Choose three.)
A. Routes are updated when a change in topology occurs.
B. Updates are sent to a multicast address by default.
C. Updates are sent to a broadcast address.
D. RIP is a link-state protocol.
E. OSPF is a link-state protocol.
F. It uses split horizon.
Answer: A,B,E
NEW QUESTION: 2
Mathew ascended three flights of stairs - passed half-way down a long arched gallery - and knocked at
another old-fashioned oak door. This time the signal was answered. A low, clear, sweet voice, inside the
room, inquired who was waiting without? In a few hasty words Mathew told his errand. Before he had done
speaking the door was quietly and quickly opened, and Sarah Leeson confronted him on the threshold,
with her candle in her hand.
Not tall, not handsome, not in her first youth - shy and irresolute in manner - simple in dress to the
utmost limits of plainness - the lady's-maid, in spite of all these disadvantages, was a woman whom it
was impossible to look at without a feeling of curiosity, if not of interest. Few men, at first sight of her, could
have resisted the desire to find out who she was; few would have been satisfied with receiving for answer,
She is Mrs. Treverton's maid; few would have refrained from the attempt to extract some secret information
for themselves from her face and manner; and none, not even the most patient and practiced of observers,
could have succeeded in discovering more than that she must have passed through the ordeal of some
great suffering at some former period of her life. Much in her manner, and more in her face, said plainly
and sadly: I am the wreck of something that you might once have liked to see; a wreck that can never be
repaired - that must drift on through life unnoticed, unguided, unpitied - drift till the fatal shore is
touched, and the waves of Time have swallowed up these broken relics of me forever.
This was the story that was told in Sarah Leeson's face - this, and no more. No two men interpreting that
story for themselves, would probably have agreed on the nature of the suffering which this woman had
undergone. It was hard to say, at the outset, whether the past pain that had set its ineffaceable mark on
her had been pain of the body or pain of the mind. But whatever the nature of the affliction she had
suffered, the traces it had left were deeply and strikingly visible in every part of her face.
Her cheeks had lost their roundness and their natural color; her lips, singularly flexible in movement and
delicate in form, had faded to an unhealthy paleness; her eyes, large and black and overshadowed by
unusually thick lashes, had contracted an anxious startled look, which never left them and which piteously
expressed the painful acuteness of her sensibility, the inherent timidity of her disposition. So far, the marks
which sorrow or sickness had set on her were the marks common to most victims of mental or physical
suffering. The one extraordinary personal deterioration which she had undergone consisted in the
unnatural change that had passed over the color of her hair.
It was as thick and soft, it grew as gracefully, as the hair of a young girl; but it was as gray as the hair of an
old woman. It seemed to contradict, in the most startling manner, every personal assertion of youth that
still existed in her face. With all its haggardness and paleness, no one could have looked at it and
supposed for a moment that it was the face of an elderly woman. Wan as they might be, there was not a
wrinkle in her cheeks. Her eyes, viewed apart from their prevailing expression of uneasiness and timidity,
still preserved that bright, clear moisture which is never seen in the eyes of the old. The skin about her
temples was as delicately smooth as the skin of a child. These and other physical signs which never
mislead, showed that she was still, as to years, in the very prime of her life.
Sickly and sorrow-stricken as she was, she looked, from the eyes downward, a woman who had barely
reached thirty years of age. From the eyes upward, the effect of her abundant gray hair, seen in
connection with her face, was not simply incongruous - it was absolutely startling; so startling as to make
it no paradox to say that she would have looked most natural, most like herself if her hair had been dyed.
In her case, Art would have seemed to be the truth, because Nature looked like falsehood.
What shock had stricken her hair, in the very maturity of its luxuriance, with the hue of an unnatural old
age? Was it a serious illness, or a dreadful grief that had turned her gray in the prime of her womanhood?
That question had often been agitated among her fellow-servants, who were all struck by the peculiarities
of her personal appearance, and rendered a little suspicious of her, as well, by an inveterate habit that she
had of talking to herself. Inquire as they might, however, their curiosity was always baffled. Nothing more
could be discovered than that Sarah Leeson was, in the common phrase, touchy on the subject of her gray
hair and her habit of talking to herself, and that Sarah Leeson's mistress had long since forbidden
everyone, from her husband downward, to ruffle her maid's tranquility by inquisitive questions.
What does the author mean with the statement "In her case, Art would have seemed to be the truth,
because Nature looked like falsehood"?
A. Artists would not have used Sarah for a pose unless it was from the eyes downward.
B. Artists would have had to modify Nature by painting her hair a different color than gray.
C. Usually women would have been presented in Art as natural as possible but in the case of Sarah, Art
would have made improvements to Nature.
D. Nature made Sarah look like a falsehood rather like Art.
E. Normally Art is perceptibly copying that which is natural (Nature), and this is reversed in the case of
Sarah.
Answer: E
Explanation:
Explanation/Reference:
Explanation:
There is a saying that Art imitates Life (or Nature). The author is saying that due to the extreme and
unusual effects of this trauma on the woman, Life or that which was real; Nature looks more of the imitation
rather than Art.
NEW QUESTION: 3
You need to prepare the New York office infrastructure for the migration of the on-premises virtual machines to Azure.
Which four actions should you perform in sequence? To answer, move the appropriate actions from the list of actions to the answer area and arrange them in the correct order.
Answer:
Explanation:
Explanation
References:
https://docs.microsoft.com/en-us/azure/site-recovery/vmware-azure-tutorial
NEW QUESTION: 4
Azureサブスクリプションがあります。
VM1という名前のオンプレミス仮想マシンがあります。 VM1の設定は展示に表示されます。 （展示をクリックします。）
VM1に接続されたディスクをAzure仮想マシンのテンプレートとして使用できることを確認する必要があります。
VM1で何を変更する必要がありますか？
A. メモリ
B. プロセッサ
C. 統合サービス
D. ネットワークアダプター
E. ハードドライブ
Answer: E
Explanation:
Explanation
From the exhibit we see that the disk is in the VHDX format.
Before you upload a Windows virtual machines (VM) from on-premises to Microsoft Azure, you must prepare the virtual hard disk (VHD or VHDX). Azure supports only generation 1 VMs that are in the VHD file format and have a fixed sized disk. The maximum size allowed for the VHD is 1,023 GB. You can convert a generation 1 VM from the VHDX file system to VHD and from a dynamically expanding disk to fixed-sized.
References:
https://docs.microsoft.com/en-us/azure/virtual-machines/windows/prepare-for-upload-vhd-image?toc=azurevirtu windows toc.json
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