In of mice and men, what is most closely the meaning of the underlined phrase in the passage below (paragraphs 9-10)? "o. k. someday—we’re gonna get the jack together and we’re gonna have a little house and a couple of acres an’ a cow and some pigs and—" "an’ live off the fatta the lan’," lennie shouted. "an’ have rabbits. go on, george! tell about what we’re gonna have in the garden and about the rabbits in the cages and about the rain in the winter and the stove, and how thick the cream is on the milk like you can hardly cut it. tell about that, george."

a) to live without having to work

b) to eat a lot of food

c) to go on a diet

d) to live for a long time

My necktie rich and modest, but asserted by a simple pin-[they will say: "but how his arms and legs are thin! "]do i daredisturb the universe? in a minute there is timefor decisions and revisions which a minute will reverse.which lines indicate that the speaker is concerned about what others think of him? my morning coat, my collar mounting firmly to the chin,my necktie rich and modest, but asserted by a simple pin-in a minute there is timefor decisions and revisions which a minute will reverse.o with a bald spot in the middle of my hair[they will say: "how his hair is growing thin! "]and indeed there will be timeto wonder, "do i dare? " and, "do i dare? "

Juanito. hey, don't leave yet. what type of work? and where? who do i see? hey, don't leave yet! the duende. (the duende stops and turns). be careful. danger. danger. (he exits.) —blanca flor, angel vigl read these lines from the play again, then rewrite them as they might appear in a novel. the answer is 'hey, don't leave yet," cried juanito. "what type of work? and where? who do i see? hey, don't leave yet! " the duende stopped and turned back to juanito. "be careful. danger," he warned. as he turned to leave, he repeated: "danger."

Read the following scene from trifles. sheriff (chuckling). married to the law. (moves toward the other room.) i just want you to come in here a minute, george. we ought to take a look at these windows. county attorney (scoffingly). oh, windows! sheriff. we’ll be right out, mr. hale. (hale goes outside. the sheriff follows the county attorney into the other room. then mrs. hale rises, hands tight together, looking intensely at mrs. peters, whose eyes take a slow turn, finally meeting mrs. hale’s. a moment mrs. hale holds her, then her own eyes point the way to where the box is concealed. suddenly mrs. peters throws back quilt pieces and tries to put the box in the bag she is wearing. it is too big. she opens box, starts to take the bird out, cannot touch it, goes to pieces, stands there . sound of a knob turning in the other room. mrs. hale snatches the box and puts it in the pocket of her big coat. enter county attorney and sheriff.) county attorney (facetiously). well, henry, at least we found out that she was not going to quilt it. she was going to—what is it you call it, ladies! mrs. hale (her hand against her pocket). we call it—knot it, mr. henderson. what changes might a director or screenwriter make to the original version of this scene in order to best emphasize the mood? cut dialogue from the scene to make it a more appropriate length update the setting to appeal to a more modern-day audience omit the actions of the characters to avoid confusion and chaos include the use of lighting, camera angles, and sound effects