Read this excerpt from The Miracle Worker.
ANAGNOS: So. You are no longer our pupil, we throw you into the world, a teacher. If the child can be taught. No one expects you to work miracles, even for twenty five dollars a month. Now, in this envelope a loan, for the railroad, which you will repay me when you have a bank account. But in this box, a gift. With our love.
(ANNIE opens the small box he extends, and sees a garnet ring. She looks up, blinking, and down.)
Which of these statements provides the best summary of the scene?
Anagnos explains his expectations of Annie, offering her money and a farewell present.
Anagnos offers Annie a garnet ring, and he tells her that she might not succeed at teaching.
Anagnos presents Annie with a loan and a ring that is worth more than she will earn in six months of teaching.
Anagnos shows his generosity as he gives his wise advice and his expensive present to Annie.
Answer:
Anagnos explains his expectations of Annie, offering her money and a farewell present.
Explanation:
According to the excerpt from The Miracle Worker, it is narrated that Anagnos tells Annie that she is no longer his pupil and bids her farewell, giving her a present.
Therefore, the statement that provides the best summary of the scene is that Anagnos explains his expectations of Annie, offering her money and a farewell present.
Answer:
upset. shes crying. i dont know. i think its her father of brother. family? i dont see a tittle. the girl is probably worried. the man looks shocked
Explanation:
Climate change, Segregation in the school system in America, could all make interesting research papers.
B, citations should always cite page and authors last name
The drama is a very ancient form of art, and reached a high pitch of excellence in ancient Greece, which produced such great dramatists as Aeschylus, Sophocles, Euripides and the satirist Aristophanes. The Greeks were passionately fond of the theatre, and crowded to see and hear the plays of these great poets.
In England, the drama came into full flower in the age of Queen Elizabeth, and the number of able Elizabethan dramatists, of whom Shakespeare was the greatest, shows what an intense interest the English people took in the theatre.
The actual theaters in those days were very primitive, and scarcely any scenery was used; but the dramas produced are the greatest in English literature.
Theatres today are places of amusement, resorted to, as a rule, in the evening after the work of the day. The buildings are large and comfortable, and the scenery is magnificent and realistic.
The scenic arrangements delight the eye, the music charms the soul, and the situations created by the plot are such as to arouse the interest, and make us lose the sense of our own troubles and worries in sympathy with the joys and sorrows of those who are impersonated upon the stage.
Theatres being looked upon, in modern times, largely as places of recreation, the public demands amusement, “and those representations which are of a cheerful and joyous nature, those plots which involve the characters in trouble and leave them in possession of unalloyed happiness, are the most popular, even though in many cases they are untrue to life. There is, however, another side to the question. The English stage was most flourishing in the time of Queen Elizabeth. The dramatists of that day looked upon amusement as only a part of their duties. Many men of lofty and penetrating intellect used the theatre as a medium for the expression of their thoughts and ideas.
Their aim was to ennoble and elevate the audience, and imbue it with their own philosophy, by presenting noble characters working out their destiny amid trials and temptations, and their pictures, being essentially true to nature, acted as powerful incentives to the cultivation of morality.
Shakespeare stands preeminent among them all, because by his wealth of inspiring thought he gives food for reflection to the wisest, and yet charms all by his wit and humour and exhibits for ridicule follies and absurdities of men.
It is a great testimony to the universality of his genius that, even in translations, he appeals to many thousands of those who frequent Indian theatres, and who differ so much in thought, customs and religion from the audiences for which he wrote.
