Read the following excerpt from "harrison bergeron' by kurt vonnegut which takes place after george and hazel witness their son's death: "you been crying? " he said to hazel. "yup," she said. "what about? " he said. "i forget," she said. "something real sad on television." "what was it? " he said. "it's all kind of mixed up in my mind," said hazel. "forget sad things," said george. "i always do,' said hazel. which statement best describes the intended aesthetic impact of this excerpt? o a. as neither george nor hazel want to deal with what they've witnessed, readers feel a sense of hopelessness, o b. because of how the author depicts hazel, he reveals the unexpectedness of a mother outliving her child. o c. readers feel a sense of optimism as hazel and george are determined to fight back against an equal society. o d. the author reveals irony in that hazel is unable to remember witnessing her son's death on television

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explanation:

1.creeping like a snail is a simile used in this poem and it means the child is going to school unwillingly./a child is unwilling to go to school.

2. man becomes very frail and loses his physical strength when he becomes old, so much that his leggings that used to fit him snugly when he was in his youth are now too loose for him to wear, and that his shank has shrunk so much that this worldly stage is too big for a feeble actor like him. although, 'his youthful hose' just refers to his leggings/pants/ to shrink from danger; to shrink from contact.

3.the words "sans" means "without." it is a french word that is often used in english even today. so he is saying that in the last age of a man, the man is without eyes, taste, or anything else. he also says that this is the "last stage of all" and that it is the stage that ends a man's "history."

hope this !

feel very well should be good

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