Paraphrase Had we but world enough and time
This coyness, lady, were no crime.
We would sit down, and think which way
To walk, and pass our long love's day.

everyman: morality play

which phrase in this excerpt from the play everyman refers to god's judgment of people's souls after their death?

messenger: . .

ye think sin in the beginning full sweet,

which in( the end) causeth thy soul to weep,

when the body lieth in clay.

here shall you see how fellowship and jollity,

both strength, pleasure, and beauty,

will fade from thee as flower in may.

for ye shall hear, how our heavenly king

calleth everyman to a (general reckoning):

give audience, and hear what he doth say.

god: i perceive here in my majesty,

how that all the creatures be to me unkind,

living without dread in worldly prosperity:

of (ghostly sight) the people be so blind,

drowned in sin, they know me not for their god;

in worldly riches is all their mind,

they fear not( my righteousness), the sharp rod;

(my law that i shewed), when i for them die

hopefully this !

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explanation:

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