Click here to read the wages of sin literary analysis. (note: some paragraphs of the original essay have been removed, but all the information needed to
answer the questions is provided.) match each example from the essay with the part of the literary analysis that the example fulfills.
- commentary
a. still, wages of betrayal are more horrible - life.
- thesis
b. in "rappaccini's daughter, hawthorne exposes the effects of betrayal in
order to demonstrate that all in this world is untrustworthy and death is the
- lead-in
only certainty
c. (399)
- clincher
d. rappaccini is confronted with his treachery by beatrice in her dying
- hook
moments when she asks,
summary
e. this story goes beyond mere tragedy, however,
f. perhaps the deeper cause of the tragedy lies in fact that neither giovanni
concrete detail
nor rappaccini love or trust beatrice more than his beliefs.
- topic sentence
g. so giovanni, like rappaccini, is betrayed by faith in an idea.
h. she turns from the poison with which her father nourished and sustained
- parenthetical citation
her and accepts the antidote which giovanni, her lover offers her.
- transition
1. as she dies from the antidote, she charges giovanni with her death saying,
"farewell, giovanni. thy words of hatred are like lead within my oh,
was there from the first not more poison in thy nature than in mine? " (420).
j. trust is like a mirror, once it has been shattered, nothing ever looks quite
the same.

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d.) gold is the correct answer

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