Read the following scene from the little foxes. ben. (very jovial) i suppose i have been. and why not? horace has done hubbard sons many a good turn. why shouldn’t i be anxious to him now? regina. (laughs) him! him when you need him, that’s what you mean. ben. what a woman you married, horace. (laughs awkwardly when horace does not answer) well, then i’ll make it quick. you know what i’ve been telling you for years. how i’ve always said that every one of us little southern businessmen had great things—(extends his arm)—right beyond our finger tips. it’s been my dream: my dream to make those fingers grow longer: i’m a lucky man, horace, a lucky man. to dream and to live to get what you’ve dreamed of. that’s my idea of a lucky man. (looks at his fingers as his arm drops slowly) for thirty years i’ve cried bring the cotton mills to the cotton. (horace opens medicine bottle). well, finally i got up nerve to go to marshall company in chicago. what would be similar about a stage and a film interpretation of this scene? viewers would have to infer the emotions and motivations of ben and regina. viewers would have to envision the physical descriptions of ben and regina. viewers would have to imagine the few props being used by ben and regina. viewers would have to visualize the actions and movements of ben and regina.

How does a writer support a counter claim after stating it? select three options

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.

What is the central idea of paragraph 1 of the story?