Which of the following is an example of avant-garde art? a 433
C. all of the above
b. fountain
d. none of the above

c. is the answer to your question.

explanation:

1.   in sonnet 18, the speaker wants to describe the beauty of his love, but can’t find the words to do so. the speaker says “then in mid-utterance the lay was lost” when he tries to think of the words to describe his love’s beauty.   through his defeat of finding words to describe his love, he shows his love for her.

2.   instead of describing how perfect his love is or comparing her to other beautiful things, he says she is average and there is nothing special about her.   at the last 2 lines of the poem, the volta changes the poem by saying that even though his love is average in beauty, his love for her is special and unique. so instead of praising her throughout the whole poem, he contrasts her average characteristics with his special love for her.

3.   the beloved asked the speaker to describe how he feels about her. she begins to describe what she feels but "drop the torch" and says that she can't do it because the words "hid in me out of reach." the the speaker says "nay, let the silence of my womanhood command my woman-love to thy belief" and that her silence will have to be the answer to his question.

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