In “the monkey’s paw,” w. w. jacobs describes the interactions of a close-knit family in the beginning of the story. this description contributes to creating an atmosphere of in the excerpt. however, after , the mood gradually becomes
1. a) excitement
b) eeriness
c) warmth
d) fear
2. a) the white family had their dinner
b) the two friends start reminiscing about old days
c) herbert's victory at chess against his father
d) the major recounts the monkey's paw tale
3. a) sinister
b) exciting
c) sorrowful
d) cheerful

this is b. how railways dealt with people riding the trains without paying

the price of our current war is high; it costs money and it costs lives.

but it does not cost our pride. it does not cost the guilt that would arise from knowing that we did nothing to intervene while our neighboring nations fell to despotic leaders.

it does not cost the terror of knowing that our allies are unstable. it does not cost the fear that we, too, will be next to fall.

which sentence most accurately explains why the speaker's use of the parallel structure is effective in this passage?

a. it underscores that disagreement will not be tolerated and will be dealt with swiftly.

b. it makes the speaker seem like a decisive and capable leader.

c. it emphasizes reasons to fight and inspires listeners to aid the war effort.

d. it establishes the speaker's credibility by acknowledging the difficulties of war.

the excerpt from chapter 2 of "animal farm", by george orwell that is an example of foreshadowing is "these three (snowball, napoleon, and squealer) had elaborated old major's teachings into a complete system of thought to which they gave the name of animalism." animal farm is an allegory of how czarist russia developed into communist russia with all its corruption. old major's teachings represent marx's theories turned into communism, animalism, by the three pigs. this foreshadows the oppression and corruption that will follow this revolt.

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