[p]reparing the twelfth time to go on board, i found the wind began to rise. however, at low water, i went on board, and though i thought i had rummaged the cabin so effectually, as that nothing more could be found, yet i discovered a locker with drawers in it, in one of which i found two or three razors, and one pair of large scissors, with some ten or a dozen of good knives and forks; in another i found about thirty-six pounds value in money, some european coin, some brazil, some pieces of eight, some gold, and some silver. i smiled to myself at the sight of this money. "o drug! " said i aloud, "what art thou good for? thou art not worth to me, no, not the taking off the ground; one of those knives is worth all this heap: i have no manner of use for thee; e'en remain where thou art, and go to the bottom, as a creature whose life is not worth saving." in the passage, crusoe compares money to a drug. explain some ways in which money was like a drug to crusoe before being shipwrecked. then, analyze the tone of the passage, and explain how the comparison create that tone. support your response with specific details from the passage.

Which of the following is a possible theme statement for the topic “edna and her children”? a mother needs to put her children’s needs ahead of her own. children can sometimes come between a married couple. grandparents can with raising children. the needs and demands of others prevent individuals from being true to themselves.

Which excerpt from "hills like white elephants" provides the most details about the main characters' lives outside the railway station? click here to read an excerpt.

Read the excerpt from act 1 of a doll's house. helmer: nora! [goes up to her and takes her playfully by the ear.] the same little featherhead! suppose, now, that i borrowed fifty pounds today, and you spent it all in the christmas week, and then on new year's eve a slate fell on my head and killed me, and— nora: [putting her hands over his mouth]. oh! don't say such horrid things. helmer: still, suppose that happened, —what then? nora: if that were to happen, i don't suppose i should care whether i owed money or not. helmer: yes, but what about the people who had lent it? nora: they? who would bother about them? i should not know who they were. helmer: that is like a woman! but seriously, nora, you know what i think about that. no debt, no borrowing. there can be no freedom or beauty about a home life that depends on borrowing and debt. we two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. nora: [moving towards the stove]. as you , torvald. how does the interaction between helmer and nora advance the plot? nora realizes that helmer will completely disapprove of her having borrowed money, so she has to continue to keep it a secret from him. nora realizes that she and helmer have the same ideas about financial issues, and the conversation brings them closer together later in the play. helmer realizes that nora is more responsible with money than he originally thought, and he trusts her more with finances later in the play. nora realizes that helmer knows a lot more about borrowing and lending, and she will seek his input later when she needs it.