Read the excerpt from act 3, scene 1, of julius caesar.

caesar. i must prevent thee, cimber.
these couchings and these lowly courtesies
might fire the blood of ordinary men,
and turn preordinance and first decree
into the law of children. be not fond
to think that caesar bears such rebel blood
that will be thawed from the true quality
with that which melteth fools: i mean sweet words,
low-crookèd courtesies, and base spaniel fawning.
thy brother by decree is banished.
if thou dost bend and pray and fawn for him,
i spurn thee like a cur out of my way.
know caesar doth not wrong but with just cause,
nor without cause will he be satisfied.

what is the central idea of this excerpt?

caesar will not reverse the exile of cimber’s brother in response to begging and flattery

caesar tells cimber to leave the senate for pleading to release his brother.

caesar will free cimber’s brother if cimber provides caesar with good reasons to do so.

caesar will not tolerate being treated like a dog for exiling cimber’s brother.

Read the excerpt from "declaration of conscience" by margaret chase smith. the exercise of these rights should not cost one single american citizen his reputation or his right to a livelihood nor should he be in danger of losing his reputation or livelihood merely because he happens to know someone who holds unpopular beliefs. who of us doesn't? otherwise none of us could call our souls our own. otherwise thought control would have set in. this excerpt contains an example of

Match each poem with the subculture or counterculture from which it came. hip–hop counterculture feminist counterculture beat generation a. "pay attention, here's the thick of the plot/i pulled up to the corner at the end of my block/and that's when i saw this beautiful girly–girl walkin'/i picked up my car phone to perpetrate like i was talkin'" (jazzy jeff and the fresh prince) b. "for no church told me/no guru holds me/no advice/just stone/of new york" (jack kerouac) c. "you fit into me/ like a hook into an eye/a fish hook/an open eye" (margaret atwood)

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