Mr. Frank. Mrs. Van Daan, Mr. Van Daan, Peter. (Then, in explanation of their lateness) There were too many of the Green Police on the streets . . . we had to take the long way around. (Up the steps come Margot Frank, Mrs. Frank, Miep (not pregnant now), and Mr. Kraler. All of them carry bags, packages, and so forth. The Star of David is conspicuous on all of the Franks' clothing. Margot is eighteen, beautiful, quiet, shy. Mrs. Frank is a young mother, gently bred, reserved. She, like Mr. Frank, has a slight German accent. Mr. Kraler is a Dutchman, dependable, kindly. As Mr. Kraler and Miep go upstage to put down their parcels, Mrs. Frank turns back to call Anne.)

B. setting and mood are important elements in many of the stories in this unit. choose one story and describe some aspects of its setting: where it takes place; what mood is created by the details of weather, place, and time; and how this setting to convey the theme of the story. the story is , another evening at the club. can someone give me ideas if you have read this story.

Read the passage below and answer the question that follows. ‘you make me feel uncivilized, daisy,’ i confessed on my second glass of corky but rather impressive claret. ‘can’t you talk about crops or something? ’ i meant nothing in particular by this remark but it was taken up in an unexpected way. ‘civilization’s going to pieces,’ broke out tom violently. ‘i’ve gotten to be a terrible pessimist about things. have you read ‘the rise of the coloured empires’ by this man goddard? ’ ‘why, no,’ i answered, rather surprised by his tone. ‘well, it’s a fine book, and everybody ought to read it. the idea is if we don’t look out the white race will be—will be utterly submerged. it’s all scientific stuff; it’s been proved.’ in this passage, tom’s ideas about race relations come off as uncivilized. what literary device is fitzgerald using here? irony personification metaphor simile

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.