Read the following excerpt from the article "Vision, Voice and the Power of Creation: An Author Speaks Out," by T. A. Barron, and answer the question that follows: Another way to tap the power of imagination is through place. My own background as a writer is rooted in nature, having grown up reading Henry David Thoreau, Rachel Carson, and John Muir long before I ever dipped into Madeleine L'Engle, Lloyd Alexander, Ursula Le Guin, E. B. White, or J. R.R. Tolkien. My early writings were really nature journals; at nine, I wrote a complete biography—of a tree. (It was a once-majestic chestnut tree not far from my home.) So it should come as no surprise that I view place as much more than just a setting for a story. It is, in truth, another form of character, no less alive and complex, mysterious and contradictory, than the richest character in human form.

What does this paragraph imply about the way the author would treat the setting in his work?

The author does not think the setting or place of a story is important.
The author thinks the setting or place is the most important part of a story.
The author does not think the other parts of a story are important.
The author thinks the setting can influence the story as much as characters can.

our democratic-republican government is based on the idea of the natural right of every individual member thereof to . . a vote in making and executing the laws.

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b. he wants to keep from being identified by former masters.

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now, of course, the quality and the seasonability of these winter dreams varied, but the stuff of them remained.   they persuaded dexter several years later to pass up a business course at the state university—his father, prospering now, would have paid his way—for the precarious advantage of attending an older and more famous university in the east, where he was bothered by his scanty funds. but do not get the impression, because his winter dreams happened to be concerned at first with musings on the rich, that there was anything merely snobbish in the boy. he wanted not association with glittering things and glittering people—he wanted the glittering things themselves. often he reached out for the best without knowing why he wanted it—and sometimes he ran up against the mysterious denials and prohibitions in which life indulges.

there you go thats what we are missing

the word that best matches the meaning of the expression "went to the big ocean" is died.

the goldfish died, which is why the father looks at the children mournfully. the "big ocean" is the father's way of saying fish heaven. he could have just said that the goldfish died, but this way, the children imagine the fish in a bigger, better place instead of just picturing a dead fish.

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