Which of these excerpts from poems by emily dickinson uses irony?
my cocoon tightens, colors tease,
i'm feeling for the air;
a dim capacity for wings
degrades the dress i wear.
could she have guessed that it would be;
could but a crier of the glee
have climbed the distant hill;
had not the bliss so slow a pace, —
who knows but this surrendered face
were undefeated still?
one dignity delays for all,
one mitred afternoon.
none can avoid this purple,
none evade this crown.
there's a certain slant of light,
on winter afternoons,
that oppresses, like the weight
of cathedral tunes.
heavenly hurt it gives us;
we can find no scar,
but internal difference
where the meanings are.
exultation is the going
of an inland soul to sea, —
past the houses, past the headlands,
into deep eternity!

Read the excerpt from dominique’s personal narrative. tired of waiting for the bus, which was late for the fifth day in a row, i sat leafing through an old magazine i had stuffed in my purse the previous night. it was terribly warm for a september afternoon, and the sun cast fleeting shadows on the bus stop sign with each car that passed. i wondered when the weather would get cooler and when the new bus driver would start arriving on time. it was about then that i first noticed the apparent agitation of the man sitting next to me. finally, the bus arrived and ambled to a gradual stop directly in front of the restless man. the doors widened, and the bus driver greeted the man with his usual banter in his usual monotone. "good afternoon. how are you today? ” when writing the next few lines of dialogue, dominique should be certain that the lines provide clues about what will happen later on in the narrative. contain made-up details that make the story more exciting. include everyday language that seems real and natural. use precise words that make both men sound educated.

Myths often function as a connection to the , or the customs and beliefs, of a group of people.

Read the excerpt from act 1 of a doll's house. helmer: nora! [goes up to her and takes her playfully by the ear.] the same little featherhead! suppose, now, that i borrowed fifty pounds today, and you spent it all in the christmas week, and then on new year's eve a slate fell on my head and killed me, and— nora: [putting her hands over his mouth]. oh! don't say such horrid things. helmer: still, suppose that happened, —what then? nora: if that were to happen, i don't suppose i should care whether i owed money or not. helmer: yes, but what about the people who had lent it? nora: they? who would bother about them? i should not know who they were. helmer: that is like a woman! but seriously, nora, you know what i think about that. no debt, no borrowing. there can be no freedom or beauty about a home life that depends on borrowing and debt. we two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. nora: [moving towards the stove]. as you , torvald. how does the interaction between helmer and nora advance the plot? nora realizes that helmer will completely disapprove of her having borrowed money, so she has to continue to keep it a secret from him. nora realizes that she and helmer have the same ideas about financial issues, and the conversation brings them closer together later in the play. helmer realizes that nora is more responsible with money than he originally thought, and he trusts her more with finances later in the play. nora realizes that helmer knows a lot more about borrowing and lending, and she will seek his input later when she needs it.