Which type оf rаilrоаd cаr has nо top, a flat bottom, and fixed sides used for hauling bulk commodities?
Reаd the fоllоwing pаssаge frоm the play Trifles, by Susan Glaspell then answer the questions that follow. MRS. HALE. She—come to think of it, she was kind of like a bird herself—real sweet and pretty, but kind of timid and—fluttery. How—she—did—change. (Silence; then as if struck by a happy thought and relieved to get back to everyday things.) Tell you what, Mrs. Peters, why don’t you take the quilt in with you? It might take up her mind. MRS. PETERS. Why, I think that’s a real nice idea, Mrs. Hale. There couldn’t possible be any objection to it, could there? Now, just what would I take? I wonder if her patches are in here—and her things. (They look in the sewing basket.) MRS. HALE. Here’s some red. I expect this has got sewing things in it (Brings out a fancy box.) What a pretty box. Looks like something somebody would give you. Maybe her scissors are in here. (Opens box. Suddenly puts her hand to her nose.) Why— (Mrs. Peters bends nearer, then turns her face away.) There’s something wrapped up in this piece of silk. MRS. PETERS. Why, this isn’t her scissors. MRS. HALE (lifting the silk.) Oh, Mrs. Peters—it’s— (Mrs. Peters bend closer.) MRS. PETERS. It’s the bird. MRS. HALE (jumping up.) But, Mrs. Peters—look at it. Its neck! Look at its neck! It’s all—other side to. MRS. PETERS. Somebody—wrung—its neck. (Their eyes meet. A look of growing comprehension of horror. Steps are heard outside. Mrs. Hale slips box under quilt pieces, and sinks into her chair. Enter Sheriff and County Attorney. Mrs. Peters rises.) COUNTY ATTORNEY (as one turning from serious thing to little pleasantries). Well, ladies, have you decided whether she was going to quilt it or knot it? MRS. PETERS. We think she was going to—knot it. COUNTY ATTORNEY. Well, that’s interesting, I’m sure. (Seeing the birdcage.) Has the bird flown? MRS. HALE (putting more quilt pieces over the box.) We think the—cat got it. COUNTY ATTORNEY (preoccupied). Is there a cat? (Mrs. Hale glances in a quick covert way at Mrs. Peters.) MRS. PETERS. Well, not now. They’re superstitious, you know. They leave. COUNTY ATTORNEY (to Sheriff Peters, continuing an interrupted conversation.) No sign at all of anyone having come from the outside. Their own rope. Now let’s go up again and go over it piece by piece. (They start upstairs.) It would have to have been someone who knew just the— (Mrs. Peters sits down. The two women sit there not looking at one another, but as if peering into something and at the same time holding back. When they talk now, it is the manner of feeling their way over strange ground, as if afraid of what they are saying, but as if they cannot help saying it.) MRS. HALE. She liked the bird. She was going to bury it in that pretty box. MRS. PETERS. (in a whisper). When I was a girl—my kitten—there was a boy took a hatchet, and before my eyes—and before I could get there—(Covers her face an instant.) If they hadn’t held me back, I would have— (Catches herself, looks upstairs, where steps are heard, falters weakly.)—hurt him. MRS. HALE (with a slow look around her.) I wonder how it would seem never to have had any children around. (Pause.) No, Wright wouldn’t like the bird—a thing that sang. She used to sing. He killed that, too. MRS. PETERS (moving uneasily). We don’t know who killed the bird. MRS. HALE. I knew John Wright. MRS. PETERS. It was an awful thing was done in this house that night, Mrs. Hale. Killing a man while he slept, slipping a rope around his neck that choked the life out of him. MRS. HALE. His neck, Choked the life out of him. (Her hand goes out and rests on the birdcage.) MRS. PETERS (with a rising voice). We don’t know who killed him. We don’t know. In the above passage, the bird acts as a metaphor for ________.
Reаd the fоllоwing pаssаge frоm the play The Brute, then answer the questions that follow. From Anton Chekhov’s The Brute (pp. 769): Luka: Instead of carrying on this way, ma‘am, you should go out in the garden and take a bit of a walk, ma‘am. Or why not harness Toby and take a drive? Call on a couple of the neighbors, ma‘am? Mrs. Popov: Oh, Luka! Luka: Yes , ma‘am? What have I said, ma’am? Oh, dear! Mrs Popov: Toby! You said Toby! He adored that horse. When he drove me out to the Korchagins and the Vlasovs, it was always with Toby! He was a wonderful driver, do you remember, Luka? So graceful! So strong! I can see him now, pulling at those reins with all his might and main! Luka, tell them to give Toby an extra portion of oats today. Luka: Yes, ma‘am A bell rings. Mrs. Popov: Who is that? Tell them I‘m not at home. Luka: Very good, ma‘am Mrs. Popov: (gazing again at the photograph) you shall see, my Popov, how a wife can love and forgive. Till death do us part. Longer than that. Till death re-unite us forever! (suddenly a titter breaks through her tears) aren‘t you ashamed of yourself, Popov? Here‘s your little wife, being good, being faithful, so faithful she’s locked up here waiting her own funeral, while you– doesn‘t it make you ashamed, you naughty boy? You were terrible, you know. You were unfaithful, and you made those awful scenes about it, you stormed out and left me alone for weeks– Enter Luka Luka: (upset) There‘s someone asking for you, ma’am. Says he must – Mrs. Popov: I suppose you told him that since my husband’s death I see no one? Luka: yes, ma‘am. I did ma‘am. But he wouldn‘t listen, ma‘am. He say it‘s urgent. Mrs. Popov: (shrillly) I see no one! Luka: He won't take no for an answer, ma‘am. He just curses and swears and comes in any way. He‘s a perfect monster, ma‘am. He‘s in the dining room right now. Mrs. Popov: In the dining room, is he? I‘ll give him his comeuppance. Bring him in here this minute. The above passage best represents what part of the plot’s structure?
Reаd the fоllоwing pаssаge frоm the play The Brute, then answer the questions that follow. From Anton Chekhov’s The Brute (pp. 769): Luka: Instead of carrying on this way, ma‘am, you should go out in the garden and take a bit of a walk, ma‘am. Or why not harness Toby and take a drive? Call on a couple of the neighbors, ma‘am? Mrs. Popov: Oh, Luka! Luka: Yes , ma‘am? What have I said, ma’am? Oh, dear! Mrs Popov: Toby! You said Toby! He adored that horse. When he drove me out to the Korchagins and the Vlasovs, it was always with Toby! He was a wonderful driver, do you remember, Luka? So graceful! So strong! I can see him now, pulling at those reins with all his might and main! Luka, tell them to give Toby an extra portion of oats today. Luka: Yes, ma‘am A bell rings. Mrs. Popov: Who is that? Tell them I‘m not at home. Luka: Very good, ma‘am Mrs. Popov: (gazing again at the photograph) you shall see, my Popov, how a wife can love and forgive. Till death do us part. Longer than that. Till death re-unite us forever! (suddenly a titter breaks through her tears) aren‘t you ashamed of yourself, Popov? Here‘s your little wife, being good, being faithful, so faithful she’s locked up here waiting her own funeral, while you– doesn‘t it make you ashamed, you naughty boy? You were terrible, you know. You were unfaithful, and you made those awful scenes about it, you stormed out and left me alone for weeks– Enter Luka Luka: (upset) There‘s someone asking for you, ma’am. Says he must – Mrs. Popov: I suppose you told him that since my husband’s death I see no one? Luka: yes, ma‘am. I did ma‘am. But he wouldn‘t listen, ma‘am. He say it‘s urgent. Mrs. Popov: (shrillly) I see no one! Luka: He won't take no for an answer, ma‘am. He just curses and swears and comes in any way. He‘s a perfect monster, ma‘am. He‘s in the dining room right now. Mrs. Popov: In the dining room, is he? I‘ll give him his comeuppance. Bring him in here this minute. Toby the horse is mentioned again at the end of the play, when the action is resolved. In the play, Toby functions as a ________.