The correct answer is C. For instance.
Explanation
A transition is a word or phrase that is used to move from one idea to another. This transition can be used to complement, contrast, deny, and develop an idea. In this case, sentence 3 is a complement to sentence 2 because it provides an example by explaining how some essential items in the library were damaged. So, the most accurate transition for this is "For instance" because it expresses a relation of complement and exemplification. So, the correct answer is C. For instance.
In The Red Badge of Courage chapter one, ..
A) the army would be moving soon
B) They would have a hot meal just in time for Thanksgiving
C) The war would be over soon
D) The soldiers pay was about to be doubled
’ ..
A) Be unable to get along with his fellow soldiers
B) Show his cowardice by running from battle
C) Die a slow and torturous death
D) Be captured by the enemy
, ...
A) fighting, then running away when the enemy attacks again
B) Charging up a mountainside with his bayonet
C) playing the drums to inspire his allies
D) Losing his rifle in the mayhem
Commons
“How did Faulkner pull it off?” is a question many a fledgling writer has asked themselves while struggling through a period of apprenticeship like that novelist John Barth describes in his 1999 talk "My Faulkner." Barth “reorchestrated” his literary heroes, he says, “in search of my writerly self... downloading my innumerable predecessors as only an insatiable green apprentice can.” Surely a great many writers can relate when Barth says, “it was Faulkner at his most involuted and incantatory who most enchanted me.” For many a writer, the Faulknerian sentence is an irresistible labyrinth. His syntax has a way of weaving itself into the unconscious, emerging as fair to middling imitation.
While studying at Johns Hopkins University, Barth found himself writing about his native Eastern Shore Maryland in a pastiche style of “middle Faulkner and late Joyce.” He may have won some praise from a visiting young William Styron, “but the finished opus didn’t fly—for one thing, because Faulkner intimately knew his Snopses and Compsons and Sartorises, as I did not know my made-up denizens of the Maryland marsh.” The advice to write only what you know may not be worth much as a universal commandment. But studying the way that Faulkner wrote when he turned to the subjects he knew best provides an object lesson on how powerful a literary resource intimacy can be
