One of J. R.R. Tolkien's stated goals in developing the world of The Lord of the Rings was to create a set of
myths for English-speaking peoples comparable to the
myths of the ancient Greeks and Norse. This endeavor
partially explains the preoccupation with origins and
"roots" that his characters show in all of his novels.
Which statement most accurately identifies the theme that the critic is
discussing and the historical context that affects the theme?
O A. The theme is mythology, and the historical context is the
preoccupation with origins and "roots."
OB. The theme is The Lord of the Rings, and the historical context is
the mythology of the Greeks and Norse.
O C. The theme is origins, or "roots," and the historical context is the
background on Tolkien's purpose.
O D. The theme is Greek and Norse mythology, and the historical
context is Tolkien's interest in them.

Read this excerpt from wheels of change by sue macy. that said, it's hard to grasp the full extent of the bicycle's impact on americans in the late 19th century—particularly female americans. imagine a population imprisoned by their very clothing; the stiff corsets, heavy skirts, and voluminous petticoats that made it difficult to take a deep breath, let alone exercise. add to that the laws and social conventions that cemented a man's place as head of the household and holder of the purse strings. how suffocated women must have felt. and how liberated they must have been as they pedaled their wheels toward new horizons. what is the central idea of the excerpt

What is the meaning of "full tide" as it is used in this sentence? before i could explain to her the differences of language in this world, she was embarked on the full tide of another subject. a long and involved argument an inaccurate representation a detailed and lively discussion an uncontrollable flood

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.