In the Importance of Being Ernest, Cecily's response when "Ernest" asks is she will marry him is the first one: She says yes because they're already engaged.
"Ernest" actually is surprised to find out that Cecily thinks they are already engaged to be married and not only that, but she reveals that her sustained fascination with "uncle's Jack brother" had moved her to invent a romance between herself and Ernest.
Cecily had created an entire relationship with love letters included (that she herself had written), a ring, a broken engagement, and a reconciliation. All chronically told in her personal diary.
Im going with B sorry if it's wrong
The answer is D! Nobody is mentioned but it is clearly talking to somebody so the subject or person is implied!
A sentence that includes an independent clause and at least one dependent clause is called a complex sentence.
Answer:
The authors use of a third person limited perspective allows for the main character's thought to be carried out with descriptive diction and implication towards the other characters and the setting. Dialogue is also used frequently between the characters allowing the reader to infer farther plot details and characterization, especially with the diction the characters use to describe each other and other characters. Though the characters are relatively descriptive with their language, they remain ambiguous about what they know and how they describe their opinion of others. "Then you know practically nothing about my aunt?" pursued the self-possessed young lady. "Only her name and address," admitted the caller. He was wondering whether Mrs. Sappleton was in the married or widowed state. An undefinable something about the room seemed to suggest masculine habitation." This creates a suspense between the reader and the plot by only cluing them in a bit at a time with the same knowledge that the character is receiving, and not giving the reader an insight via dramatic irony, as some stories do. This choice gives the author complete control on how much information the reader can receive at a time, therefore drawing oue the storyline. "Her tragedy?" asked Framton; somehow in this restful country spot tragedies seemed out of place. "You may wonder why we keep that window wide open on an October afternoon," said the niece, indicating a large French window that opened on to a lawn. "It is quite warm for the time of the year," said Framton; "but has that window got anything to do with the tragedy?"
Towards the end, the upfrontness of the the child knowing more about the tragic story more than the adults is shocking to the reader, as the juxtaposition between the characters increases with the new information and how it is delivered. They never came back. In crossing the moor to their favorite snipe-shooting ground they were all three engulfed in a treacherous piece of bog. It had been that dreadful wet summer, you know, and places that were safe in other years gave way suddenly without warning. Their bodies were never recovered. That was the dreadful part of it." Here the child's voice lost its self-possessed note and became falteringly human." The ending of the story brings back the original ambiguity to distract the reader from the very dramatic moment that just happened previously and putting them back into the original small-talk between the characters that the story started with. "I hope Vera has been amusing you?" she said. "She has been very interesting," said Framton. "I hope you don't mind the open window," said Mrs. Sappleton briskly; "my husband and brothers will be home directly from shooting, and they always come in this way."
Explanation:
