Please help me PLEASE

Read this excerpt from "ain't i a woman? " by sojoumer truth in which three sentences does she make an emotional appeal to the audience by talking about her personal hardships? well, children, where there is so much racket there must be something out of kilter. {i think that 'twixt the negroes of the south and the women at the north, all talking about rights, the white men will be in a fix pretty soon.} but what's all this here talking about? {that man over there says that women need to be into carriages, and lifted over ditches, and to have the best place everywhere. nobody ever me into carriages, or over mud puddles, or gives me any best place} and ain't i a woman? look at me! look at my arm! {i have ploughed and planted, and gathered into bars, and no man could head me! } and ain't i a woman? i could work as much and eat as much as a man - when i could get it - and bear the lash as well! and ain't i a woman? {i have borne thirteen children, and seen most all sold off to slavery, and when i cried out with my mother's grief, none but jesus heard me! } and ain't i a woman? {then they talk about this thing in the head, what's this they call it? [member of audience whispers, "intellect") that's it, honey.} what's that got to do with women's rights or negroes' rights? if my cup won't hold but a pint, and yours holds a quart, wouldn't you be mean not to let me have my little half measure full?

Who is music included between news updated of the radio version of the war of the worlds

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.