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Use the script to answer the question.

LIZ: (suddenly) Julian! We have to turn around. I think I left the oven on at the house!
JULIAN: What! I thought you turned it off before we left.
LIZ: I thought I did, too, but I'm not sure.
JULIAN: (frustrated) We are nearly 10 miles away at this point. We can't just turn around. Can you call Michelle and see if she can use her spare key to check for us?
LIZ: Michelle is visiting her sister in Michigan this weekend, remember?
JULIAN: What about Carlos? Doesn't he have a spare key?
LIZ: (with a sigh of relief) You're right! I'm going to call him right now.

In one to two sentences, analyze how the stage directions would impact the way actors perform this scene.

(put it in one sentence)

The stage directions would add urgency and tension to the performance as Liz suddenly realizes she may have left the oven on and frantically tries to find a solution.

Use the poem "Recuerdo" by Edna St. Vincent Millay to complete the activity. (1) We were very tired, we were very merry— We had gone back and forth all night on the ferry. It was bare and bright, and smelled like a stable— But we looked into a fire, we leaned across a table, We lay on a hill-top underneath the moon; And the whistles kept blowing, and the dawn came soon. (2) We were very tired, we were very merry— We had gone back and forth all night on the ferry; And you ate an apple, and I ate a pear, From a dozen of each we had bought somewhere; And the sky went wan, and the wind came cold, And the sun rose dripping, a bucketful of gold. (3) We were very tired, we were very merry, We had gone back and forth all night on the ferry. We hailed, “Good morrow, mother!” to a shawl-covered head, And bought a morning paper, which neither of us read; And she wept, “God bless you!” for the apples and pears, And we gave her all our money but our subway fares. In one to two sentences, explain how the repeated lines contribute to the overall meaning of the poem

(put it in one sentence)

The repeated lines "We were very tired, we were very merry" emphasize the contrast between exhaustion and joy experienced during the night on the ferry, highlighting the bittersweet nature of the memories being recounted.

Mrs. Darling came to the window, for at present she was keeping a sharp eye on Wendy. She told Peter that she had adopted all the other boys, and would like to adopt him also. “Would you send me to school?” he inquired craftily. "Yes.” “And then to an office?” "I suppose so.” “Soon I would be a man?” “Very soon.” “I don’t want to go to school and learn solemn things,” he told her passionately. “I don’t want to be a man. O Wendy’s mother, if I was to wake up and feel there was a beard!” “Peter,” said Wendy the comforter, “I should love you in a beard;” and Mrs. Darling stretched out her arms to him, but he repulsed her. “Keep back, lady, no one is going to catch me and make me a man.” “But where are you going to live?” “With Tink in the house we built for Wendy. The fairies are to put it high up among the treetops where they sleep at nights.” “How lovely,” cried Wendy so longingly that Mrs. Darling tightened her grip. “I thought all the fairies were dead,” Mrs. Darling said. "There are always a lot of young ones,” explained Wendy, who was now quite an authority, “because you see when a new baby laughs for the first time a new fairy is born, and as there are always new babies there are always new fairies. They live in nests on the tops of trees; and the mauve ones are boys and the white ones are girls, and the blue ones are just little sillies who are not sure what they are.” “I shall have such fun,” said Peter, with one eye on Wendy. “It will be rather lonely in the evening,” she said, “sitting by the fire.” “I shall have Tink.” In one to two sentences, determine how Wendy's point of view changes as the dialogue continues.

As the dialogue continues, Wendy's point of view changes from one of longing for Peter to stay and be part of their family to a more resigned acceptance that he will go off to live with Tinker Bell in the treetops.

Use the excerpt from the poem "Late September" by Amy Lowell to answer the question. Warmth of earth, and cloudless wind Tearing off the husky rind, Blowing feathered seeds to fall By the sun-baked, sheltering wall. In three to five sentences, explain how the poet uses figurative language to express meaning in this stanza.

In this stanza, the poet uses warm earth and cloudless wind as metaphors to convey a sense of comfort and clarity. The image of tearing off the husky rind with the blowing feathered seeds suggests a sense of renewal or shedding of old layers to make way for new growth. The phrase "sun-baked, sheltering wall" could be seen as a metaphor for stability and protection amidst change. Overall, the figurative language in this stanza creates a vivid and sensory experience for the reader, emphasizing themes of transformation, growth, and resilience in nature.