How does the characterization of caesar in this passage
connect to the central idea of the passage?
read the excerpt from act 2, scene 1, of the tragedy of
julius caesar
brutus. it must be by his death: and for my part
i know no personal cause to spurn at him
but for the general. he would be crowned:
how that might change his nature, there's the question.
it is the bright day that brings forth the adder,
and that craves wary walking. crown him that,
and then i grant we put a sting in him
that at his will he may do danger with
th' abuse of greatness is when it disjoins
remorse from power. and to speak truth of caesar,
i have not known when his affections swayed
more than his reason. but 'tis a common proof
that lowliness is young ambition's ladder,
whereto the climber-upward turns his face;
but when he once attains the upmost round,
he then unto the ladder turns his back,
by reflecting on caesar's position in society, brutus
comes to realize that caesar has lost integrity as a ruler
and that he must join the plot to assassinate caesar.
when brutus allows himself to be convinced to join the
conspiracy against caesar, it seals his fate and leads to
his ultimate defeat and death.
brutus decides to join the conspiracy against caesar
because he fears that caesar will become ruthless
once he has absolute power.
brutus decides that he must prevent caesar from
becoming ruthless as a result of having absolute power,
but in the end it is brutus who is corrupted by power.

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.

What is the main way a sequence of events is used to resolve a conflict?

Read the passage from a raisin in the sun. mama: lord have mercy, baby. you done gone and bought your grandmother a hat? travis (very proud): open it! she does and lifts out an elaborate, but very elaborate, wide gardening hat, and all the adults break up at the sight of it. ruth: travis, honey, what is that? travis (who thinks it is beautiful and appropriate): it's a gardening hat! like the ladies always have on in the magazines when they work in their gardens. beneatha (giggling fiercely): travis—we were trying to make mama mrs. miniver—not scarlett o'hara! mama (indignantly): what's the matter with you all! this here is a beautiful hat! (absurdly.) i always wanted me one just like it! which word or phrase from the text best supports the idea that the adults think the hat is inappropriate? “have mercy” (giggling fiercely) (indignantly) “what’s the matter”