Abridged from Robinson Crusoe, by Daniel Defoe I was born in the year 1632, in the city of York, of a good family, though not of that country, my father being a foreigner of Bremen, who settled first at Hull. He got a good estate by merchandise, and leaving off his trade, lived afterwards at York, from whence he had married my mother, whose relations were named Robinson, a very good family in that country, and from whom I was called Robinson Kreutznaer; but, by the usual corruption of words in England, we are now called - nay we call ourselves and write our name - Crusoe; and so my companions always called me.

Pl read these paragraphs from the excerpt. every great play teaches many lessons and touches nearly all social problems. but the great play does this by indirection. every beautiful thought is a teacher; every noble line speaks to the brain and heart. beauty, proportion, melody suggest moral beauty, proportion in conduct and melody in life. in a great play the relations of the various characters, their objects, the means adopted for their accomplishment, must suggest, and in a certain sense solve or throw light on many social problems, so that the drama teaches lessons, discusses social problems and gives intellectual pleasure. the stage should not be dogmatic; neither should its object be directly to enforce a moral. the great thing for the drama to do, and the great thing it has done, and is doing, is to cultivate the imagination. this is of the utmost importance. the civilization of man depends upon the development, not only of the intellect, but of the imagination. most crimes of violence are committed by people who are destitute of imagination. people without imagination make most of the cruel and infamous creeds. they were the persecutors and destroyers of their fellow-men. by cultivating the imagination, the stage becomes one of the greatest teachers. it produces the climate in which the better feelings grow; it is the home of the ideal. all beautiful things tend to the civilization of man. the great statues plead for proportion in life, the great symphonies suggest the melody of conduct, and the great plays cultivate the heart and brain. which statement describes how ingersoll uses a literary technique in his response? a-by using symbols, ingersoll explains the role of artistic expression, which engages readers. b- by using a metaphor, ingersoll explains how artistic thoughts address social issues, which clarifies his idea. c- by using allusion, ingersoll emphasizes the continued growth of artistic expression, which is relatable to readers. d- by using alliteration, ingersoll emphasizes the role drama plays in society, which evokes strong emotion.

Critical thinking questions what factors led to the creation and implementation of operation reinhard? how did the residents of the ghettos respond to mass deportations and what occurred when the residents realized what happened to those deported? what did rudolf hoess’s testimony at the end of the war suggest about the final solution and planned deportation and resettlement? how did operation reinhard differ from earlier nazi actions and how was it similar? was resettlement seriously considered and why was it not used?

In the first line of each stanza, the author follows the pattern of a noun followed by a pair of adjectives. what is the purpose of this pattern?