Read the following passage and answer the question that follows:
tom stoppard's play, rosencrantz and guildenstern are dead, draws on two previous theatrical works: shakespeare's hamlet and samuel beckett's waiting for godot. rosencrantz and guildenstern are dead follows the "off-stage" exploits of two minor characters from hamlet, rosencrantz and guildenstern. while the two main characters in stoppard's play occasionally make brief appearances in "hamlet," as scripted in shakespeare's original tragedy, the majority of the play takes place in other parts of the castle where hamlet is set. while "off stage" in this way, the characters resemble the main characters in the absurdist waiting for godot. as in beckett's play, rosencrantz and guildenstern pass the time by impersonating other characters, engaging in word play, and remaining silent for long periods of time. these same two characters were also featured in a parody of hamlet, the short comic play by w. s. gilbert entitled rosencrantz and guildenstern. gilbert's play makes rosencrantz and guildenstern into central characters and alters the storyline of hamlet.
which line from the text makes the author's purpose most clear?
a. tom stoppard's play, rosencrantz and guildenstern are dead, draws on two previous theatrical works
b. the two main characters in stoppard's play occasionally make brief appearances in "hamlet,"
c. while "off stage" in this way, the characters resemble the main characters in the absurdist waiting for godot
d.
these same two characters were also featured in a parody of hamlet, the short comic play by w. s. gilbert

Pl read these paragraphs from the excerpt. every great play teaches many lessons and touches nearly all social problems. but the great play does this by indirection. every beautiful thought is a teacher; every noble line speaks to the brain and heart. beauty, proportion, melody suggest moral beauty, proportion in conduct and melody in life. in a great play the relations of the various characters, their objects, the means adopted for their accomplishment, must suggest, and in a certain sense solve or throw light on many social problems, so that the drama teaches lessons, discusses social problems and gives intellectual pleasure. the stage should not be dogmatic; neither should its object be directly to enforce a moral. the great thing for the drama to do, and the great thing it has done, and is doing, is to cultivate the imagination. this is of the utmost importance. the civilization of man depends upon the development, not only of the intellect, but of the imagination. most crimes of violence are committed by people who are destitute of imagination. people without imagination make most of the cruel and infamous creeds. they were the persecutors and destroyers of their fellow-men. by cultivating the imagination, the stage becomes one of the greatest teachers. it produces the climate in which the better feelings grow; it is the home of the ideal. all beautiful things tend to the civilization of man. the great statues plead for proportion in life, the great symphonies suggest the melody of conduct, and the great plays cultivate the heart and brain. which statement describes how ingersoll uses a literary technique in his response? a-by using symbols, ingersoll explains the role of artistic expression, which engages readers. b- by using a metaphor, ingersoll explains how artistic thoughts address social issues, which clarifies his idea. c- by using allusion, ingersoll emphasizes the continued growth of artistic expression, which is relatable to readers. d- by using alliteration, ingersoll emphasizes the role drama plays in society, which evokes strong emotion.

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