Part of the exposition of a story or play is the presentation of the initial conflict. Which parts of the excerpt indicate the i
nitial conflict that drives the story? DUNHAM: The beverages are getting low, madam — what with entertaining so much —
ELAINE: [In dismay.] But, mother, if you only have twelve people, Father can't sit at the head of the table.
MRS. PRINGLE: But he has to sit at the head. It looks too undignified when the man of the house is pushed to the side —
ELAINE: There's no other way. There must be a woman at each end —
MRS. PRINGLE: [Distraught.] How absurd! I always forget. Of course, twelve is an impossible number — [She goes around the table looking at the place cards.] I don't want to put any of these women at the head— there’s Mrs. Darby — such a cat — I wouldn't give her the honor and Mrs. — [The telephone rings.] Answer it, Dunham.
One way of doing this was to create a sense of solidarity by fostering a social identity that differentiated the polis from all others. This identity was achieved in various ways, such as the creation of a communal space where people could mix and socialize—the agora.
It is Present Perfect. FORM [has/have + past participle] <span>Examples: </span>You have seen that movie many times. <span />Have you seen that movie many times? You have not seen that movie many times.
