What romantic element is present in this excerpt from rip van winkle?

a compare and contrast essay is a piece of formal writing in which the author focus on the similarities between two ideas, objects, places, etc., and the differences between them. there are some aspects that the author should take into account when he/she is crafting the essay. first, the author has a clear idea of the effect that he/she wants to produce on the audience (a purpose). his/her main idea should be presented in the thesis statement in a simple but effective way which gives the audience a clear idea of the content and the direction of the essay. in addition, it is also important to focus to the similarities and differences that not only are interesting and relevant to the reader but also provide a new, impressive point of view or deeper understanding of a topic.

i know 2 is c.

i'm leaning towards a for 1.

awnser:

jem is "moody and silent" after the pants incident. the new school year starts, and scout finds second grade just as boring as first. one day, she and jem are walking home together when jem reveals that when he found his pants that night, they were all folded up, and the tears had been crudely sewn up, as if someone knew that he would be coming back for them. he finds this highly eerie. then, they find a ball of twine in the radley oak tree knothole. again, they aren't sure if it is a gift for them or not, so they leave it for a few days. when it remains in the hole for a few days, they take it, and decide that anything left there is okay to take.

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