1. D: the Bishop is kind and caring and even though ValJean is an ex-convict he is still treated like a human being by the Bishop. Calling him 'brother' further shows how he views all people as equals.
2. D: you would expect ValJean to be grateful for the kindness the Bishop shows him and to accept the food and lodging without causing trouble. ValJean is a former criminal but the Bishop trusted him to not steal what he had. ValJean showed the opposite of these expectations by stealing from the Bishop.
3. C: the Bishop welcomes ValJean into his home and treats him like a real human being. The irony is that as soon as someone treats him like a normal person ValJean starts "stuttering like a madman", acting the way everyone before had assumed he would be (crazy).
Answer:
A. Song-sam wants to find out why his old friend is on the communists’ side.
Explanation:
In Hwang Sun-won's short story "Cranes", he delves into the North-South reconciliation political situation between the two Koreas. This story works on the divided political ideologies and how most enmities are a result of misunderstood perceptions of the people.
The two protagonists Song-sam and Tok-chae were childhood friends but had to make political decisions after the intrusion of the Northern Communist forces. While Song-sam fled the village, Tok-chae had to stay behind as he <em>"wanted to be with [his father] in his last moments so that I could close his eyes with my own hand"</em>. Besides, they were poor farmers who depend on the land and can't leave when the harvest was near. And when the North forces retreated and the South was once again reclaimed, Tok-chae was arrested of treason and to be killed.<em><u> Song-sam volunteered to escort his old friend to Chongdam so that he can find the truth about why he did not flee and managed to survive even when the North was controlling the village. </u></em>
The answer is : B. The survival of her children in difficult circumstances
Hope this helps ✌️✌️✌️
Fact: Also her dream is to own a house and garden.
The social hierarchy is an unavoidable reality in Britain, and it is interesting to watch it play out in the work of a socialist playwright. Shaw includes members of all social classes from the lowest (Liza) to the servant class (Mrs. Pearce<span>) to the middle class (Doolittle after his inheritance) to the genteel poor (the Eynsford Hills) to the upper class (Pickering and the Higginses). The general sense is that class structures are rigid and should not be tampered with, so the example of Liza's class mobility is most shocking. The issue of language is tied up in class quite closely; the fact that Higgins is able to identify where people were born by their accents is telling. British class and identity are very much tied up in their land and their birthplace, so it becomes hard to be socially mobile if your accent marks you as coming from a certain location.
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