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Read the excerpt. … in lower burma, i was hated by large numbers of people. … i was subdivisional police officer of the town, and … anti-european feeling was very bitter. … as a police officer i was an obvious target and was baited whenever it seemed safe to do so. … i had already made up my mind that imperialism was an evil thing. … i was all for the burmese and all against their oppressors, the british. what is the situational irony in the excerpt from “shooting an elephant” by george orwell? the narrator is a british police officer and part of the system he dislikes. the narrator is himself a well-liked member of the burmese government. the narrator has recently become a burmese citizen. the narrator has decided to leave the british empire.

Which statement best describes how these paragraphs develop the central idea of the article? a- they elaborate on the idea that the offer has been made with youngsters in mind. b- they provide additional information as to why the prize is a wagon instead of something else. c- they support the idea that the wagon is attractive to youngsters and is a worthy prize. d- they introduce the idea that the newspaper is a generous organization. read paragraphs 4 and 5. the disc wheel coaster wagon is thirty-six inches long and sixteen inches wide. the coaster is built exactly like a high-powered automobile. the disc wheels have rubber tires and true roller bearings. it runs as smoothly as an eight-cylinder automobile. it is built of the strongest wood and is equipped with a reliable hand brake, enabling the owner to stop in an instant. the tongue—usually the first thing about a wagon to break and render the wagon unserviceable—is so stout that a man can jump on it without breaking it.

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.