Which statement BEST describes how the author of "A Widow's Burden" altered historical facts to tell her story? ANSWER: A. In reality, the problem of the inequalities experienced by Sarah could not be put right so easily.

waves come crashing to grey sullen shores.

powerful and strong, it breathes and roars.

cascading and caressing each grain of sand,

a warm embrace between sea and land.

high above, a seagull soars high.

wings of purity it spreads to fly.

battling high against darkened cloud,

in a wind that blows fiercely, flying graceful and proud.

beneath, the sand is soft and warm.

sculpted by nature, it's weathered the storm.

a passionate battle between calmness and rage,

a new chapter's beginning; don't turn the last page.

i listen again to the whispering waves,

music of nature calming and brave.

its power unknown, its stillness untamed,

mysterious and magical, a treasure earth claims.

plz mark brainliest

explanation:

in our power to make a world happy - to teach mankind the art of being so - to a character hitherto unknown - and to have, as it were, a new creation intrusted to our hands, are honors that command reflection, and can neither be too highly estimated,

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