Read the excerpt from "the tell-tale heart.”

true! —nervous—very, very dreadfully nervous i had been and am; but why will you say that i am mad? the disease had sharpened my senses—not destroyed—not dulled them. above all was the sense of hearing acute. i heard all things in the heaven and in the earth. i heard many things in hell. how, then, am i mad? hearken! and observe how healthily—how calmly i can tell you the whole story.

read the excerpt from "the black cat.”

for the most wild, yet most homely narrative which i am about to pen, i neither expect nor solicit belief. mad indeed would i be to expect it, in a case where my very senses reject their own evidence. yet, mad am i not—and very surely do i not dream. but to-morrow i die, and to-day i would unburthen my soul.

which statement best compares these two excerpts?

both narrators appear to be completely rational, which makes them both reliable narrators.
both narrators admit to suffering from madness, which makes them both unreliable narrators.
both narrators admit to having enhanced senses, which makes them both reliable narrators.
both narrators appear to be irrational, which makes them both unreliable narrators.

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