Question 5 (10 points) question 5 unsaved why do both jack and algernon wish to be christened? question 5 options: they have had a religious experience dr. chasuble is forcing this rite upon them both men wish to change their names question 6 (10 points) question 6 unsaved according to the "act 2 words to know" link, and in the context of the play, what does "christen" mean? question 6 options: to name at baptism to immerse in water to sparkle to crown question 7 (10 points) question 7 unsaved according to the "act 2 words to know" link, and in the context of the play, what does "emigrate" mean? question 7 options: to work illegally to move to another country to apply for citizenship to fly south for the winter question 8 (10 points) question 8 unsaved think about the main characters and events of act 2. which character says the following? “you silly boy! of course. why, we have been engaged for the last three months.” question 8 options: lady bracknell miss prism gwendolen cecily question 9 (10 points) question 9 unsaved think about the main characters and events of act 2. which character says the following? “how you can sit there calmly eating muffins when we are in this horrible trouble, i can’t make out. you seem to me to be perfectly heartless.” question 9 options: jack algernon rev. chasuble merriman question 10 (10 points) question 10 unsaved in act 2, jack says, "you young scoundrel, algy, you must get out of this place as soon as possible. i don’t allow any bunburying here." the bold text represents a certain literary device. what is it? question 10 options: situational irony dramatic irony verbal irony physical irony

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.

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Read the excerpt from the land. of my brothers, i was closest with robert. i suppose, in part, being the same year's children made us close, but there were other things too. we had been together practically since birth, and we always took care of each other. when i got into trouble, robert was there to pull me out of it if he could, or at least to see me through it, and i did the same for him. the passage provides evidence of why paul and robert have physical conflicts. paul and robert avoid social conflicts. paul is the least influenced by robert. paul is motivated to ask robert for .