In this excerpt from shakespeare’s romeo and juliet, which line best shows that mercutio blames his death on the fighting between the capulets and the montagues? benvolio: what, art thou hurt? mercutio: ay, ay, a scratch, a scratch; marry, 'tis enough. where is my page? go, villain, fetch a surgeon. (exit page) romeo: courage, man; the hurt cannot be much. mercutio: no, 'tis not so deep as a well, nor so wide as a church-door; but 'tis enough, 'twill serve: ask for me to-morrow, and you shall find me a grave man. i i am peppered, i warrant, for this world. a plague o' both your houses! 'zounds, a dog, a rat, a mouse, a a cat, to scratch a man to death! a braggart, a rogue a villain, that fights by the book of arithmetic! why the devil came you between us? i was hurt under your arm. romeo: i thought all for the best. mercutio: me into some house, benvolio, or i shall faint. a plague o' both your houses! they have made worms' meat of me: i have it, and soundly too: your houses!

there is not such an "uncle" in the poem "a servant to servants". the narrator refers to many characters -particularly her brother and her husband- both suffering from mental illness. the woman is also suffering because she does something to but she is not happy with the situation.

the poem has a dramatic monologue about the woman life's circumstances and her traumatic events form the past.

"a servant to servants" is a poem written by robert frost, and is part of a collection of poems "north of boston", of 1915.

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