Read this excerpt from “The Passing” and answer the question. Joe Willow’s mother, Fannie, was a short, round woman with mottled brown skin and a high shiny forehead that wrinkled when she laughed. Jimmy Bear was her second husband, and they used to pass our house often on their way to town. They had once driven an old Dodge, but it no longer ran, and it now sat lopsided and windowless among the weeds beside their lane. Jimmy Bear was a skinny man, but he had a round, protruding belly and wore his belt under it so it looked as if he carried a basketball inside. He had gaps in his teeth and a rough, guttural laugh and walked with a shuffle.

What is the author most likely trying to convey about Joe Willow through the description of his mother and stepfather? Select all that apply.

A) His loyalty to his mother
B) He is a hard worker
C) His fortune is on a downward swing
D) He comes from a humble background
E) His parents are unhealthy
F) He is due some good fortune

source text: from the sketch here given it will be seen, that our good grandmothers differed considerably in their ideas of a fine figure, from their scantily dressed descendants of the present day. a fine lady, in those times, waddled under more clothes even on a fair summer's day, than would have clad the whole bevy of a modern ball room. nor were they the less admired by the gentlemen in consequence thereof. on the contrary, the greatness of a lover's passion seemed to increase in proportion to the magnitude of its object—and a voluminous damsel, arrayed in a dozen of petticoats, was declared by a low-dutch sonnetteer of the province, to be radiant as a sunflower, and luxuriant as a full blown cabbage. certain it is, that in those days, the heart of a lover could not contain more than one lady at a time; whereas the heart of a modern gallant has often room enough to accommodate half a dozen - - the reason of which i conclude to be, either that the hearts of the gentlemen have grown larger, or the persons of the ladies smaller — this however is a question for physiologists to determine. add punctuation to the following excerpt. writing under the name of diedrich knickerbocker washington irving aimed his potent satire at as diverse topics as political rivals such as thomas jefferson to the very ideal of looking back on the past affectionately: a fine lady, in those times, waddled under more clothes even on a fair summer's day, than would have clad the whole bevy of a modern ball room. a voluminous damsel, arrayed in a dozen of petticoats, was declared by a low-dutch sonnetteer of the province, to be radiant as a sunflower, and luxuriant as a full blown cabbage. in those days, the heart of a lover could not contain more than one lady at a time; whereas the heart of a modern gallant has often room enough to accommodate half a dozen

6  then the  lord  said to cain, “why are you angry?   why is your face downcast?   7  if you do what is right, will you not be accepted? but if you do not do what is right, sin is crouching at your door;   it desires to have you, but you must rule over it.”

8  now cain said to his brother abel, “let’s go out to the field.”  while they were in the field, cain attacked his brother abel and killed him.

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