The is the longest and most important part of the speech.
A) blueprint
B) conclusion
C) body
D) introduction
E) frame

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.

Which sentences from part 1 of the call of the wild would best serve as evidence of the theme "sometimes survival depends on knowing when not to fight"? buck had accepted the rope with quiet dignity. to be sure, it was an unwonted performance: but he had learned to trust in men he knew, and to give them credit for a wisdom that outreached his own. he had merely intimated his displeasure, in his pride believing that to intimate was to command. but to his surprise the rope tightened around his neck, shutting off his breath. he saw, once for all, that he stood no chance against a man with a club. he had learned the lesson, and in all his after life he never forgot it. that had given them an unfair advantage; but now that it was off, he would show them. they would never get another rope around his neck.

How are the characters of tablin and keyn revealed in this excerpt from "the guard" by simon dunbar? a. indirectly through dialogue and by thoughts and actions b. directly through a narrative description c. indirectly through dialogue "where's my horse? " keyn asked. tablin looked around the dirt courtyard. he tried to peer through the shadowy arches of the flowing barrel. he even twisted in his saddle to look across the merchant's bazaar, past tents and warehouses filled with goods. "i don't know," he said. "did you leave it in your mouth? it's the only place i can think of that's big enough." keyn laughed; something got stuck in his throat half way, and he coughed for breath. "i can see you're good to go,” tablin observed as keyn struggled to clear his throat. “go get your horse yourself before i take the job and leave you to rot in the flowing barrel."