In this excerpt from “The Red Shoes” by Hans Christian Anderson, who are the two minor characters? There was once a pretty, delicate little girl, who was so poor that she had to go barefoot in summer and wear coarse wooden shoes in winter, which made her little instep quite red.

In the center of the village there lived an old shoemaker's wife. One day this good woman made, as well as she could, a little pair of shoes out of some strips of old red cloth. The shoes were clumsy enough, to be sure, but they fitted the little girl tolerably well, and anyway the woman's intention was kind. The little girl's name was Karen.

On the very day that Karen received the shoes, her mother was to be buried. They were not at all suitable for mourning, but she had no others, so she put them on her little bare feet and followed the poor plain coffin to its last resting place.

Just at that time a large, old-fashioned carriage happened to pass by, and the old lady who sat in it saw the little girl and pitied her.

"Give me the little girl," she said to the clergyman, "and I will take care of her."

Karen
Karen’s mother
the shoemaker’s wife
the old lady
the clergyman

What are the best types of evidence to use within the body paragraphs of an argument essay? unsupported opinions logical fallacies visual aids facts and statistics

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.

*ill give best answer brainliest*read the excerpt below and answer the question. we did not know, as yet, which was the better side, right or left, which road led to prison and which to the crematoria. still, i was happy, i was near my father. our procession continued slowly to move forward. another inmate came over to us: “satisfied? ” “yes,” someone answered. “poor devils, you are heading for the crematorium.” he seemed to be telling the truth. not far from us, flames, huge flames, were rising from a ditch. something was being burned there. a truck drew close and unloaded its hold: small children. babies! yes, i did see this, with my own eyes . . children thrown into the flames. (is it any wonder that ever since then, sleep tends to elude me? ) so that was where we were going. a little farther on, there was another, larger pit for adults. what is the conflict portrayed in this excerpt from elie wiesel’s night? select all that apply. the external conflict between the nazis and the jews the external conflict between the nazis and the allies the external conflict between wiesel and the inmate the internal conflict between wiesel’s memory of the burning bodies and his desire for peaceful sleep