Read this excerpt from “the tell-tale heart” by edgar allan poe. then fill in the blanks in the paragraph that follows. true! — nervous — very, very dreadfully nervous i had been and am; but why will you say that i am mad? the disease had sharpened my senses — not destroyed — not dulled them. above all was the sense of hearing acute. i heard all things in the heaven and in the earth. i heard many things in hell. how, then, am i mad? hearken! and observe how healthily — how calmly i can tell you the whole story. it is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. object there was none. passion there was none. i loved the old man. he had never wronged me. he had never given me insult. for his gold i had no desire. i think it was his eye! yes, it was this! he had the eye of a vulture — a pale blue eye, with a film over it. whenever it fell upon me, my blood ran cold; and so by degrees — very gradually — i made up my mind to take the life of the old man, and thus rid myself of the eye forever. in these opening lines, the reader is presented with a narrator who wants to kill "the old man" because of his eye. the author uses the lines to present a conflict. based on this excerpt, this stage of the plot is most likely to occur in .

Buddhist painting from india, nepal, and tibetthe production of buddhist manuscripts illustrated with images of various buddhist deities and/or scenes from the life of shakyamuni flourished in bihar and bengal (present-day eastern india and bangladesh) under the rule of the pala dynasty (ca. 8th - 12th century). the illustrations of the gods that appear in these manuscripts were based on descriptions found in indian texts intended to the practitioner mentally invoke the form of the deity. these texts provide the artist with the basic schema of the image, detailing what an image should look like, from the posture, gesture, and color of the deity, to the attributes (objects he or she holds that symbolize specific powers or knowledge).similarities among the buddhist paintings in this section, which are from india, nepal, and tibet, stem from a variety of reasons. they include the continuous trade and contact provided by trade route linkages and the tendency of artists working abroad to emulate indian models, but the main reason is due to the fact that the gods' depictions in the art of all three countries are ultimately dependent upon the meditation texts described above. in addition, during the pala period, pilgrims, monks, and students from all over asia, but particularly from nepal and tibet, flocked to the region's prominent religious centers; when they returned home, they took the pala style with them in the form of portable items such as manuscripts and small sculptures.