Which lines in this excerpt from act II of William Shakespeare’s Romeo and Juliet reveal that Mercutio thinks Romeo would be better off if he stopped thinking about love?
MERCUTIO: I will bite thee by the ear for that jest.

ROMEO: Nay, good goose, bite not.

MERCUTIO: Thy wit is a very bitter sweeting it is a most
sharp sauce.

ROMEO: And is it not well served in to a sweet goose?

MERCUTIO: O here's a wit of cheveril, that stretches from an
inch narrow to an ell broad!

ROMEO: I stretch it out for that word 'broad;' which added
to the goose, proves thee far and wide a broad goose.

MERCUTIO: Why, is not this better now than groaning for love?
now art thou sociable, now art thou Romeo; now art
thou what thou art, by art as well as by nature:
for this drivelling love is like a great natural,
that runs lolling up and down to hide his bauble in a hole.

BENVOLIO: Stop there, stop there.

MERCUTIO: Thou desirest me to stop in my tale against the hair.

BENVOLIO: Thou wouldst else have made thy tale large.

MERCUTIO: O, thou art deceived; I would have made it short:
for I was come to the whole depth of my tale; and
meant, indeed, to occupy the argument no longer.

"MERCUTIO: Why, is not this better now than groaning for love?

now art thou sociable, now art thou Romeo; now art

thou what thou art, by art as well as by nature:"

ey information about pap? physical description beliefs actions interactions

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