Manjiro shuddered. These were certainly barbarians if they killed animals to make shoes! Such a thing was against the law in Japan.

Eleven eyes. When at last he dared to look up, what he noticed was their eyes. Each pair a different color: green as a stormy sea, blue as the sky, black as night, or brown as his own. One man had only one eye, and that one as gray as a cloudy day. The other eye was covered with a patch.

There did not seem to be any tails, horns, or fangs among them. There were some alarmingly hairy faces and plenty of big noses, though!

—Heart of a Samurai,
Margi Preus

Read the passage. What does it help you understand about how Manjiro’s character has developed?

What is a glossary? a statement of the author’s purpose in writing the book, which may include suggestions for using the book a page at the front of a book that lists units and chapters with their page numbers an alphabetical list of the specialized words and terms used in the book and their definitions an alphabetical list of all topics covered in the book and the pages on which they can be found

Me i will give brainiest which excerpt from the passage most effectively contributes to the development of the theme that the bond between fathers and daughters is sacred and everlasting? '"may i not see the little one, sir, for a moment? ' it was his belief that mini was still the same." "i remembered the day when the cabuliwallah and my mini had first met, and i felt sad. when she had gone, rahmun heaved a deep sigh, and sat down on the floor." "this touch of his own little daughter had been always on his heart, as he had come year after year to calcutta to sell his wares in the streets." "he came close up to me holding out his offerings with the words: 'i brought these few things, sir, for the little one. will you give them to her? "'

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.