Tillie belonged to a dramatic club that once a year performed in the Moonstone Opera House such plays as "Among the Breakers," and "The Veteran of 1812." Tillie played character parts, the flirtatious old maid or the spiteful woman who intrigues others. She used to study her parts up in the attic at home. While she was committing the lines, she got Gunner or Anna to hold the book for her, but when she began "to bring out the expression," as she said, she used, very timorously, to ask Thea to hold the book. Thea was usually—not always—agreeable about it. Her mother had told her that, since she had some influence with Tillie, it would be a good thing for them all if she could tone her down a shade and "keep her from taking on any worse than need be." Thea would sit on the foot of Tillie's bed, her feet tucked under her, and stare at the silly text. "I wouldn't make so much fuss, there, Tillie," she would remark occasionally; "I don't see the point in it"; or, "What do you pitch your voice so high for? It don't carry half as well."

Question

Tillie belonged to a dramatic club that once a year performed in the Moonstone Opera House such plays as "Among the Breakers," and "The Veteran of 1812." Tillie played character parts, the flirtatious old maid or the spiteful woman who intrigues others. She used to study her parts up in the attic at home. While she was committing the lines, she got Gunner or Anna to hold the book for her, but when she began "to bring out the expression," as she said, she used, very timorously, to ask Thea to hold the book. Thea was usually—not always—agreeable about it. Her mother had told her that, since she had some influence with Tillie, it would be a good thing for them all if she could tone her down a shade and "keep her from taking on any worse than need be." Thea would sit on the foot of Tillie's bed, her feet tucked under her, and stare at the silly text. "I wouldn't make so much fuss, there, Tillie," she would remark occasionally; "I don't see the point in it"; or, "What do you pitch your voice so high for? It don't carry half as well."

"I don't see how it comes Thea is so patient with Tillie," Mrs. Kronborg more than once remarked to her husband. "She ain't patient with most people, but it seems like she's got a peculiar patience for Tillie."
Tillie always coaxed Thea to go "behind the scenes" with her when the club presented a play, and help her with her make-up. Thea hated it, but she always went. She felt as if she had to do it. There was something in Tillie's adoration of her that compelled her. There was no family impropriety that Thea was so much ashamed of as Tillie's "acting," and yet she was always being dragged in to assist her. Tillie simply had her, there. She didn't know why, but it was so. There was a string in her somewhere that Tillie could pull; a sense of obligation to Tillie's misguided aspirations.
1
How does the author use characterization to develop a theme of the passage?
A.
by contrasting Tillie's boldness with Thea's shyness
B.
by distinguishing Thea's relationship with Tillie from other relatives'
C.
by minimizing the importance of Tillie's character roles onstage
D.
by showing the parents' disapproval of Tillie's acting

Answer 1

B. by distinguishing Thea's relationship with Tillie from other relatives'

The author uses characterization to develop the theme by showing how Thea has a unique and somewhat conflicted relationship with Tillie compared to her other family members. Thea feels a sense of obligation to help Tillie with her acting, even though she is ashamed of it. This highlights the complexity of their relationship and how Thea's patience and willingness to assist Tillie sets her apart from the rest of her family.