Based on how the stage directions are used in this excerpt from act i, scene i of richard iii, what is likely the main purpose of providing stage directions in a drama? (alarum. enter king richard iii and richmond; they fight. king richard iii is slain. retreat and flourish. re-enter richmond, derby bearing the crown, with divers other lords) richmond (henry vii): god and your arms be praised, victorious friends, the day is ours, the bloody dog is dead. sir william stanley. courageous richmond, well hast thou acquit thee. lo, here, this long-usurped royalty from the dead temples of this bloody wretch have i pluck'd off, to grace thy brows withal: wear it, enjoy it, and make much of it. [a]to provide information about how the characters should move or speak onstage [b]to provide lines of dialogue for the characters [c]to provide information to the audience about the setting of the play [d]to provide the audience some insight into the motivations of the characters

Read the excerpt from the common sense of bicycling: bicycling for ladies. the bicycle is capable of such high speed that there is a strong temptation to ride so fast as to cause over exertion or excessive perspiration. on the other hand some people ride too slow, causing a zigzag and uncertain movement. while exercising reasonable caution, be a fearless rider. when you come to a steep hill, if the road is clear, let it go as fast as it will. if you rid yourself of that ghost of fear, coasting is one of the greatest delights of cycling. which is the best paraphrase of the text?

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.

How are the two arguments made in the passages different? a. the first passage claims that pets in class will children with health problems; the second passage says pets will make some health problems worse. b. the first passage claims that students’ nervousness will decrease around pets; the second says that students’ nervousness will increase around pets. c. the first passage claims that pets will make the teacher’s work easier by keeping students busy; the second passage says pets will make the teacher’s work harder. d. the first passage claims that pets in school will be good for kids’ mental health; the second passage says pets will be bad for kids’ mental health.