The following question has two parts. First, answer Part A. Then, answer Part B. Part A:

Which sentence BEST explains why Emma befriends Harriet?

A
Harriet lacks refinement, and Emma wants a project.

B
Harriet does not have many friends, and Emma is very sociable.

C
Harriet wants to become a member of high society, and Emma can help her.

D
Harriet wants to be married, and Emma knows the eligible bachelors.

Part B:

Which excerpt from the text BEST supports your answer to Part A?

A
Harriet Smith was the natural daughter of somebody. Somebody had placed her, several years back, at Mrs. Goddard's school, and somebody had lately raised her from the condition of scholar to that of parlour-boarder.

B
. . . but they must be coarse and unpolished, and very unfit to be the intimates of a girl who wanted only a little more knowledge and elegance to be quite perfect.

C
. . . Emma lost no time in inviting, encouraging, and telling her to come very often; and as their acquaintance increased, so did their satisfaction in each other.

D
Emma encouraged her talkativeness, amused by such a picture of another set of beings, and enjoying the youthful simplicity which could speak with so much exultation of Mrs. Martin's having "two parlours, two very good parlours, indeed . . . and of their having eight cows. . . ."

In a raisin in the sun what does ruth tell walter: a. she’s not mad at him for going out drinking. b. he should invest in the liquor store. c. things between them are worse than she realized. d. he should be nicer to george

Review rachel’s planned video presentation outline and answer the question

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.