What TWO effects do the stage directions have in this excerpt from Anton Chekhov's The Proposal? NATALYA STEPANOVNA: To propose to me? Ah! [Falls into an easy-chair and wails] Bring him back! Back! Ah! Bring him here.

CHUBUKOV: Bring whom here?

NATALYA STEPANOVNA: Quick, quick! I'm ill! Fetch him! [Hysterics.]

CHUBUKOV: What's that? What's the matter with you? [Clutches at his head] Oh, unhappy man that I am! . . . .

NATALYA STEPANOVNA: I'm dying! Fetch him!

CHUBUKOV: Tfoo! At once. Don't yell!

[Runs out. A pause. Natalya Stepanovna wails.]

They lead to character growth.
They make the play more dramatic.
They help add humor to the play.
They help reveal the setting.

d.) then bernice winced as marjorie tossed her own hair over her shoulders and began to twist it slowly into two long blond braids until in her cream-colored negligée she looked like a delicate painting of some saxon princess. fascinated, bernice watched the braids grow. heavy and luxurious they were, moving under the supple fingers like restive snakes—and to bernice remained this relic and the curling iron and a to-morrow full of eyes.

boccaccio employs the voice of his narrator dioneo to represent his ideas on the tension between masculinity and femininity.  while dioneo excites the members of the brigata and recognizes women for their unique skills and independent ideas, he concludes the decameron with a story reminiscent of the society from which these young aristocrats escaped, revealing misogynistic overtones.  dioneo boccaccio is able to explore the gender disparity which is inherent in 14th century florentine society.

noo because no animal can leave it's mother land and freedom even we can't leave some days in a single room by leaving home it is wrong but needed to protect them