discuss two examples of suspense or humor created by point of view in “the gift of the magi”

provide a quotation from the text to support your answers.

answer: fog is black

explanation:

cause idek what ur talking about and you should learn it ur self

ieoiw what en the: enswer is b

21 balloons is the story of professor william sherman's travels.

in 1883, he set off from san francisco for a balloon ride over the pacific and was found a month later floating with 21 balloons in the atlantic ocean. this seemed an astounding feat and everyone wanted to know what had happened.    

professor sherman was loyal, however, and said he would tell his tale first to the western american explorers club in san francisco, of which he was a member. this built up suspense for several chapters before he began to tell of the wonders of his adventures and the amazing island of krakatoa, an island which had just been blown up by a volcano.  

the residents of krakatoa are all millionaires who live under a "gourmet government" of their own devising. we get to see all the incredible adventures that creative people with unlimited resources would create according to the author.

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