Tom stoppard's play, rosencrantz and guildenstern are dead, draws on two previous theatrical works: shakespeare's hamlet and samuel beckett's waiting for godot. rosencrantz and guildenstern are dead follows the "off-stage" exploits of two minor characters from hamlet, rosencrantz and guildenstern. while the two main characters in stoppard's play occasionally make brief appearances in "hamlet," as scripted in shakespeare's original tragedy, the majority of the play takes place in other parts of the castle where hamlet is set. while "off stage" in this way, the characters resemble the main characters in the absurdist waiting for godot. as in beckett's play, rosencrantz and guildenstern pass the time by impersonating other characters, engaging in word play, and remaining silent for long periods of time. these same two characters were also featured in a parody of hamlet, the short comic play by w. s. gilbert entitled rosencrantz and guildenstern. gilbert's play makes rosencrantz and guildenstern into central characters and alters the storyline of hamlet. the author of this passage chooses to describe four different playwrights in order to convince the reader that one playwright is more talented than another instruct the reader about the least successful adaptations of shakespeare inform the reader of many different interpretations of the same two characters distract the reader from the true message of shakespeare’s tragic play

The wizard of oz provides an example of a universal idea that connects with most readers. dorothy is lost in oz. during her journey, she comes to understand that there is no place like home. the author, l. frank baum, includes colorful descriptions to readers picture the strange place where dorothy has landed. this to convey the feeling of being lost. most readers can relate to this feeling through a variety of personal experiences. this universal truth allows readers to connect to the character, and in turn to feel less lonely and isolated themselves. which literary terms should be included in this body paragraph? check all that apply. characterization imagery irony theme setting

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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.