During the rising action of a story, the writer describes the many setbacks
that the main character experiences as she tries to achieve her goal of
becoming an olympic athlete. despite the main character's perseverance, she
faces many more problems than a typical athlete. what emotion is the writer
most likely trying to create in the reader through the rising action?

- "he is a very real person and his intent isn't to influence us vonnegut addresses this towards the end of the letter when he says, if we choose to curse, that is by our own individual means."

the puritans believed that god had formed a unique covenant, or agreement, with them. they believed that god expected them to live according to the scriptures, to reform the anglican church, and to set a good example that would cause those who had remained in england to change their sinful ways.

the thousand and one nights – or, as i prefer to call them in the following for purely practical reasons: the arabian nights – as we perceive them three hundred years after antoine galland’s epochal french adaptation bear a distinct arabic imprint. meanwhile, the commonly accepted model for their textual history acknowledges various stages in the conceptualization and effective formation of both the collection’s characteristic frame story and the embedded repertoire. the vast majority of tales in the preserved manuscripts of the nights has been integrated into the collection during two periods of arabic influence, the so-called baghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages are preceded by an iranian version, probably dating to pre-islamic times, which in its turn profits from both structural devices and narrative contents originating from indian tradition. considering the eminent position that iran and iranian culture hold in the early stages of the textual history of the arabian nights, surprisingly few details are known concerning the collection’s relation to and its actual position within the iranian cultural context. in the following, i will discuss links between the arabian nights and iranian culture on several levels. in surveying these links, i will treat five major areas: (1) the iranian prototype of the nights; (2) tales of alleged persian origin; (3) persian characters within the tales; (4)persian translations of the arabian nights; and (5) the position of the arabian nights in modern iran