Summerize olaudah equiano recalls the middle passage

the light at the intersection of gurley and montezuma will turn green exactly three seconds after the light at the intersection of gurley and marina.

the passage can be best described as: "the british legislature extended an unwarranted jurisdiction".

we can say that because the text clearly states how the people of the colonies warned the british about their excessive desire to rule over them, without taking into consideration the difficulties their brothers had experienced in america: they struggled to establish the colonies, to adapt to new types of weather, fight with the natives, etc., and how they now see (or then saw) the only way out was to cut all ties with the british, since they ignored the people's petitions.

lawrence   quinn is the main antagonist of the 2003 live action film adaptation of the cat in the hat. he is the waldens' pompous neighbor whose goal is to marry joan walden for her wealth and get rid of her son conrad by sending him to military school.

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