In this activity, you’ll analyze the structural elements of an informational text. Choose one of these two texts to analyze closely: “Types of Shakespearean Dramas” or “Threats to Birds.” Part A
Note which passage you chose. What organizational patterns did you find in the passage? What details from the text helped you recognize the organizational patterns?
Part B
Are there any text features? Are they helpful? If so, how?
Part C
Do the paragraphs or sections in the passage you chose seem logically separated? Why or why not?
Part D
What is the central idea, or thesis, of the text? How do the structural elements support the central idea?

The caption is an example of which kind of bias? "cute baby boars snuffle for food in the undergrowth"

Which lines from the speech best supports this topic sentence? and as we walk, we must make the pledge that we shall always march ahead. we cannot turn back. there are those who are asking the devotees of civil rights, "when will you be satisfied? " and they have come to realize that their freedom is inextricably bound to our freedom. we cannot walk alone. we refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. and so we've come to cash this check, a check that will give us upon demand the riches of freedom and the security of justice. and so let freedom ring from the prodigious hilltops of new hampshire. let freedom ring from the mighty mountains of new york. let freedom ring from the heightening alleghenies of pennsylvania.

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.