From A Chinese Visitor's View of London by Oliver Goldsmith

Think not, O thou guide of my youth! That absence can impair my respect, or interposing trackless deserts blot your reverend figure from my memory. The further I travel I feel the pain of separation with stronger force; those ties that bind me to my native country and you are still unbroken. By every remove I only drag a greater length of chain.
Could I find aught worth transmitting from so remote a region as this to which I have wandered I should gladly send it; but, instead of this, you must be contented with a renewal of my former professions and an imperfect account of a people with whom I am as yet but superficially acquainted. The remarks of a man who has been but three days in the country can only be those obvious circumstances which force themselves upon the imagination. I consider myself here as a newly created being introduced into a new world; every object strikes with wonder and surprise. The imagination, still unsated, seems the only active principle of the mind. The most trifling occurrences give pleasure till the gloss of novelty is worn away. When I have ceased to wonder, I may possibly grow wise; I may then call the reasoning principle to my aid, and compare those objects with each other, which were before examined without reflection.
Behold me then in London, gazing at the strangers, and they at me; it seems they find somewhat absurd in my figure; and had I been never from home, it is possible I might find an infinite fund of ridicule in theirs; but by long traveling I am taught to laugh at folly alone, and to find nothing truly ridiculous but villainy and vice.
When I had quitted my native country, and crossed the Chinese wall, I fancied every deviation from the customs and manners of China was a departing from nature. I smiled at the blue lips and red foreheads of the Tonguese; and could hardly contain when I saw the Daures dress their heads with horns. The Ostiacs powdered with red earth; and the Calmuck beauties, tricked out in all the finery of sheepskin, appeared highly ridiculous: but I soon perceived that the ridicule lay not in them, but in me; that I falsely condemned others for absurdity because they happened to differ from a standard originally founded in prejudice or partiality.
I find no pleasure therefore in taxing the English with departing from nature in their external appearance, which is all I yet know of their character: it is possible they only endeavor to improve her simple plan, since every extravagance in dress proceeds from a desire of becoming more beautiful than nature made us; and this is so harmless a vanity that I not only pardon but approve it. A desire to be more excellent than others is what actually makes us so; and as thousands find a livelihood in society by such appetites, none but the ignorant inveigh against them.

Based on details from the passage, what is the narrator’s perspective of people in London?
A.
The narrator believes that the people in London shun outsiders and only focus on being better than other cities.
B.
The narrator believes the people in London dress lavishly as a way to become more extraordinary than they naturally are.
C.
The narrator believes that the people in London embrace nature and try living life as simplistically as possible by keeping away from luxuries.
D.
The narrator believes that the people in London are self-centered and do not care about life outside the city.

What is the biggest difference in central ideas and themes? question 1 options: themes are for stories with characters in them. there is only a central idea if it is explicitly (specifically, outright) stated in a story. central ideas are a main idea specific to the text, while themes are an universal lesson or moral. themes are only found in nonfiction, while central ideas are found in fiction. question 2 (1 point) which of the following is not a true statement about theme? question 2 options: mulitple themes can be found within a single text theme is usually inferred. the theme is always clearly stated by the author or a character. themes should be supported by evidence from the text. question 3 (1 point) what is indirect characterization? question 3 options: all details stated and implied that give the reader information about a character. details such as age, height, or hair color that give the reader information about a character. actions or dialogue said by a character that give the reader information about a character. the description an author gives about the character in the exposition. question 4 (1 point) which sentence best describes lizabeth's development in "marigolds"? question 4 options: lizabeth matures when she recognizes that love is more powerful than hate. lizabeth learns that sympathy and understanding come from recognizing the truth about other people. lizabeth changes her behavior after she recognizes that she needs to be a better example for her brother. lizabeth comes to recognize that the world is too barren to create lasting beauty. question 5 (1 point) how does the resolution of lizabeth's conflict in "marigolds" develop the theme? question 5 options: lizabeth recognizes that she has looked only at herself rather than at other people. lizabeth's destruction of miss lotte's flowers brings about justice over miss lotte's ill-treatment of the children. lizabeth's pursuit of adventure leads her to a more fulfilling life away from the shantytown. the camaraderie of lizbeth and joey creates meaning in both their lives. question 6 (1 point) which of the following quotations best exemplifies lizabeth's childish nature at the beginning of the story? question 6 options: "and one other thing i remember, another incongruency of memory - a brilliant splash of sunny yellow against the dust - miss lottie's marigolds." "by the time i was fourteen, my brother joey and i were the only children left at the house." "'hey, lizabeth,' joey yelled. he never talked when he could yell." "then i lost my head entirely, mad with the power of inciting such rage, and ran out of the bushes chanting madly, 'old witch, fell in a ditch, picked up a penny and through she was rich! '" question 7 (1 point) the story "marigolds" is told in a flashback. lizabeth recounts the details of the incident with miss lottie for the reader years after they have happened. how is this important to the development of lizabeth's character? question 7 options: lizabeth is older now and realizes that she may not have made the best decisions. lizabeth feels sorry for herself now and thinks that miss lottie is still angry. there were so many kids and so little to do, their behaviors should have been overlooked. all of these question 8 (1 point) lizabeth's "world had lost its boundary lines," when she overheard her father crying to her mother. what can we assume about the character of the father because of her reaction to this moment? question 8 options: we can assume that her father is a weak man. we can assume that her father shares his fears with his children and wife often. we can assume that her father is a proud and strong man and that his brokenness is a change in his character. we can assume that until this moment, her father has only cried to lizabeth but not to her mother which explains her surprise.