Anylize the quote at the bottom: What point does Scrooge keep making as he dutches the Spirit's robe in the graveyard? How does
the Spirit react? How do you interpret this reaction?
By the end of the last Spirit's visit, how has Scrooge changed from his "old self"?
. Why is this the climax of the story? What lesson does Scrooge finally learn? What does he decide?
Think about THEMES

Please also try and include:
I can look donely what people say and what happens in A Christmas Carol and explain why it important. I can identity how learn more about the characters, for example, Scrooge, through what they say and do can identity how the plot is impacted by what people say and do. I can identify a moral or lesson that Charles Dickens is trying to teach the readers (even people of London at this time through Scrooge I can explain elements of plot exposition , specifically the climax of the story)

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quite an interesting way to teach topic sentences, because the answer to this question is the best definition of a topic sentence that one can present, it is as if answering the questions taught you how to do it, this is some real teaching, it is terribly well-done.

the topic sentence in this paragraph is:

topic sentences writers stay on track and keep a paragraph from becoming an aimless collection of sentences about an idea.

which incidentally tells you what a topic sentence should be.

awnser:

the thousand and one nights – or, as i prefer to call them in the following forpurely practical reasons: the arabian nights – as we perceive them three hundredyears after antoine galland’s epochal french adaptation bear a distinct arabicimprint. meanwhile, the commonly accepted model for their textual historyacknowledges various stages in the conceptualization and effective formation ofboth the collection’s characteristic frame story and the embedded repertoire. thevast majority of tales in the preserved manuscripts of the nights has beenintegrated into the collection during two periods of arabic influence, the so-calledbaghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages arepreceded by an iranian version, probably dating to pre-islamic times, which in itsturn profits from both structural devices and narrative contents originating fromindian tradition. considering the eminent position that iran and iranian culturehold in the early stages of the textual history of the arabian nights, surprisinglyfew details are known concerning the collection’s relation to and its actualposition within the iranian cultural context. in the following, i will discuss linksbetween the arabian nights and iranian culture on several levels. in surveyingthese 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 arabiannights in modern iran