2.
PART B: Which section from the text best supports the answer to Part A?

A
“‘That makes no difference,’ Lengel tells her, and I could see from the way his eyes went that he hadn’t noticed she was wearing a two-piece before. ‘We want you decently dressed when you come in here.’” ( Paragraph 17)
B
“‘It’s our policy.’ He turns his back. That’s policy for you. Policy is what the kingpins want. What the others want is juvenile delinquency.” ( Paragraph 19)
C
“They keep right on going, into the electric eye; the door flies open and they flicker across the lot to their car, Queenie and Plaid and Big Tall Goony-Goony (not that as raw material she was so bad), leaving me with Lengel and a kink in his eyebrow.” ( Paragraph 22)
D
“‘You’ll feel this for the rest of your life,’ Lengel says, and I know that’s true, too, but remembering how he made that pretty girl blush makes me so scrunchy inside I punch the No Sale tab and the machine whirs ‘pee-pul’ and the drawer splats out.” ( Paragraph 31)

the correct answer would be d, i never like waking up.

explanation:

iambic tetrameter is a meter which is basically a line consisting of four feet of iambic and it is used in poetry. it consists of unstressed syllables followed by a stressed syllable. in this question, the only statement which is giving the feel of being stressed is option d, which says that i never like waking up. it means the person is feeling stressed whenever he wakes up. he never likes to wake up and and whenever he wakes up, he doesn't like it. so a sense or feel of being stressed is in this statement.  

he describes the bird as "stately."

i hope this

~ash belle

i read the what is the question exactly? (lol)

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