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.” hereafter, perhaps, some intellect may be found which will reduce my phantasm to the common-place—some intellect more calm, more logical, and far less excitable than my own, which will perceive, in the circumstances i detail with awe, nothing more than an ordinary succession of very natural causes and effects. both narrators are unreliable because they both fear for their lives. admit to being irrational. are unusually calm. feel agitated and anxious.

Read the excerpt from act 1, scene 3, of the tragedy of julius caesar and the background information on the allusion it contains. cassius. and why should caesar be a tyrant then? poor man, i know he would not be a wolf but that he sees the romans are but sheep. he were no lion, were not romans hinds. those that with haste will make a mighty fire begin it with weak straws. what trash is rome? what rubbish, and what offal? when it serves for the base matter to illuminate so vile a thing as caesar! but, o grief, where hast thou led me? i perhaps speak this before a willing bondman: then i know my answer must be made. but i am armed and dangers are to me indifferent. casca. you speak to casca, and to such a man that is no fleering tell-tale. hold, my hand. be factious for redress of all these griefs and i will set this foot of mine as far as who goes farthest. cassius. there’s a bargain made. now know you, casca, i have moved already some certain of the noblest-minded romans to undergo with me an enterprise of honourable dangerous consequence. and i do know by this, they stay for me in pompey’s porch. for now this fearful night there is no stir or walking in the streets; and the complexion of the element in favour’s like the work we have in hand, most bloody, fiery, and most terrible. background information: gnaeus pompeius magnus, known in english as pompey the great, was a roman general and political leader. together with caesar and crassus, pompey ruled as a member of the first roman triumvirate. as a leader, pompey was a capable administer and worked to rome grow and prosper. among other projects, he built a large amphitheater in rome. this amphitheater was named after him, and its annex became known as pompey’s porch. during this time, pompey married caesar’s daughter, julia. after her death, however, pompey and caesar began to grow apart, and within a few years, pompey sided with the senate against caesar. war followed. in 48 bce, pompey’s armies were defeated, and he was murdered by former allies who were afraid of caesar’s power. which statement best explains the meaning added by the allusion in this excerpt? a. alluding to pompey’s porch reminds the audience of the importance of pompey to roman culture and wealth, in contrast to caesar’s brutality. b. the allusion to pompey’s porch shows that the conspirators have chosen a meeting place with significance to them and one they are all familiar with. c. alluding to pompey invokes the history of his opposition to caesar, showing that the conspirators in the play are part of a longstanding battle against a tyrant. d. the allusion to pompey references his long and changing relationship with caesar, indicating that caesar is capable not only of being an enemy but also of being an ally.