The correct option is C
A. carnage : heart
B. sanguinity : blood
C. accord : head
D. décolletage : shoulder
E. incarnate : spirit
B. a pencil
C. a spoon
D. a car
Answer:
D
Explanation:
Cuase is a car-
Original:
Rory stood pensively before the wall, which towered many dozens of feet high and had, so far as he could tell, no doors, no notches, no features of any kind. How frustrating, and yet, it was certainly a challenge.
Staged:
(RORY and BELINDA stare up at a wall—it is high enough that its top cannot be seen on stage.)
BELINDA: How many feet high is it, do you think?
RORY: (excitedly) Dozens, I should think! No less than 60.
BELINDA: There must be some kind of door! Or notches, or dents, something to climb . . .
RORY: (gleeful) No, nothing of the sort. No features of any kind—look!
BELINDA (pouting): How tremendously frustrating!
RORY: Ah, but what a delicious challenge!
Which of the following best describes how adding a second character affects the scene?
A.
The second character helps to resolve the conflict.
B.
The second character helps to develop the setting by describing it aloud.
C.
The second character helps develop Rory’s character by acting as a contrast to him.
D.
The second character helps to develop the plot by introducing important background information.
2. Lakshmi’s summer camp is turning the fairy tale “Rapunzel” into a staged drama. Compare the original tale to her adaptation:
Original:
How can you dare, said she with an angry look, descend into my garden and steal my rampion like a thief? You shall suffer for it. Ah, answered he, let mercy take the place of justice, I only made up my mind to do it out of necessity. My wife saw your rampion from the window, and felt such a longing for it that she would have died if she had not got some to eat. Then the enchantress allowed her anger to be softened, and said to him, if the case be as you say, I will allow you to take away with you as much rampion as you will, only I make one condition, you must give me the child which your wife will bring into the world.
–Jakob and Wilhelm Grimm, “Rapunzel.” Grimms' Fairy Tales
Adaptation:
ENCHANTRESS: (furiously) Stealing the rampion from my garden, right under my nose? How dare you!
MAN: (desperately) Please forgive me! I know I stole from you; but I only did it because I absolutely had to!
ENCHANTRESS: Had to steal? Ridiculous!
MAN: But I did have to! My wife needed the plant so badly that she was dying! I couldn’t just let her die!
ENCHANTRESS: Fine. Take it! Take all of it, see if I care. But in return . . . you’re going to give me your kid.
Which of the following best describes Lakshmi’s adaptation?
A.
The adaptation shortens and revises the dialogue from the original, making the scene less formal.
B.
The adaptation adds an extra conflict that was not in the original, making the scene more terrifying.
C.
The adaptation adds funny dialogue that was not in the original, making the scene more humorous.
D.
The adaptation reverses the characters’ positions from the original, making the scene more dramatic.
Answer:
1.c
2d
Explanation:
I think this because some are having more conflict from the original and the copy bc they are adding more dialoge and extra trouble
Answer: c
Explanation: The second character helps develop Rory’s character by acting as a contrast to him.
Took the test lol. Good luck everyone!
Brainliest maybe?
"There's some folks who don't eat like us," she whispered fiercely, "but you ain't called on to contradict 'em at the table when they don't. That boy's yo' comp'ny and if he wants to eat up the table cloth you let him, you hear?"
"He ain't company, Cal, he's just a Cunningham-"
"Hush your mouth! Don't matter who they are, anybody sets foot in this house's yo' comp'ny, and don't you let me catch you remarkin' on their ways like you was so high and mighty! Yo' folks might be better'n the Cunninghams but it don't count for nothin' the way you're disgracin' 'em—if you can't act fit to eat at the table you can just set here and eat in the kitchen!"
Calpurnia sent me through the swinging door to the diningroom with a stinging smack. (3.26-29)
Cal's moral lesson here is to respect people's differences, even if you think you're better than them. And acting like you're better than other people is the surest way to show that you're not. This interaction is an early blow against the stereotype that white people have morals but African-Americans don't—and Cal follows it up with a loving "blow" of her own. There's nothing like a smack to make a lesson hit home, right?