Who is the speaker in this excerpt from book 13 of homer’s odyssey, and what inference can you make from the tone? shall then no more, o sire of gods! be mine the rights and honours of a power divine? scorn'd e'en by man, and (oh severe disgrace! ) by soft phaeacians, my degenerate race! against yon destined head in vain i swore, and menaced vengeance, ere he reach'd his shore; to reach his natal shore was thy decree; mild i obey'd, for who shall war with thee? behold him landed, careless and asleep, from all the eluded dangers of the deep; lo where he lies, amidst a shining store of brass, rich garments, and refulgent ore; and bears triumphant to his native isle a prize more worth than ilion's noble spoil.

that his long years of service outweigh any faults he may have had.

he wanted to be remembered for the good things he did, one of those being when he gave up office so others would follow suit, but george washington wasn’t a man who thought he was perfect, he knew he made mistakes. he was a very talented soldier with a natural gift of tactic.

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