Excerpt from music to my ears
john devine

6after all, i had gotten used to the way students talked after i had been teaching for a few years. the confusion started all over again, however, when i moved to the deep south. “i might could finish that essay by tomorrow, mr. d.,” said scarlet, a new student of mine. she may have been the first southern belle i ever met. with her it was always "y'all hush" or "hand me that there yonder pen." (she pronounced "pen" with two syllables, by the way.)

7i just about fell over when she said might could. “scarlet,” i said, “you might finish the essay or you could finish the essay, but you can’t might could finish the essay.”

8“come again, mr. d.? ”

9i rubbed my eyes and wondered silently if perhaps her accent wasn’t as false as her eyelashes. “there ain’t no mights or coulds about it, scarlet. just write the darn essay.”

10"i declare, mr. d.! if you ain't the tetchiest teacher i ever did meet! no need to have a conniption! "

"if you ain't the tetchiest teacher i ever did meet! "

what does scarlet mean by this statement?
a) she means that her teacher is unfair.
b) she means that her teacher is depressed.
c) she means that her teacher is intelligent.
d) she means that her teacher is easily annoyed.

Which statements are universal themes associated with this topic? select three options. when the boy saw the effects of war, he no longer viewed life as innocent. the path from innocence to experience can be long and difficult. one way to define innocence is as a lack of worldly experience or sophistication. the loss of innocence is a result of gaining experience and making mistakes. protecting the innocence of others prevents them from taking risks in their lives.

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.

Why does koskoosh give up his fight with the wolves