The fog comes on little cat feet.

It sits looking
over harbor and city
on silent haunches
and then moves on.

Source: Sandberg, Carl. “Fog.” Chicago Poems. New York: Henry Holt and Company, 1916. 71. Representative Poetry Online. Web. 9 June 2011.

Which two things are being compared in the poem?

harbors and cities
fog and cats
cat feet and harbors
fog and moving

a. conversing outside

explanation:

conversing outside is an example of a communication style.

i hope this you, and have a wonderful day!

  one day samantha and her brother carson was walking in a path then samantha's brother carson almost stepped on something on the ground "carson, stop! " she shouted "huh, why? " he stopped "beacause, this" she says picking this mysterious object off of the ground it looked like a smart watch but there was another under it, one of them was gold one was silver. "woah, smart watches! " carson said "yeah, woah, you want gold or silver? " sam said "ummm, i'll take silver" carson smiled

  when they put it on it started to glow but no one was around, wafter 30 seconds of waiting a small silver dragon   came to carson, about the same time a golden lion came to samantha. "carson you need to get us some where safe so all of us can talk." the dragon said in his squeaky voice "by the way im silvester"   he said "we need to also samantha, im goldy." she said in her sqeaky voice.

  samantha and carson were suprised, scared and happy at the same time, so they took the little animals to their shed that nobody but them go into. "so where did you guys come from? " samantha said as they all sat down, "goldy and i, came from a far away land called zelda 101," silvester said "we are partners looking to find two human partners and you two are the perfect type, we could all be a team in zelda 101 and many other places that need certant things." goldy said "would you be willing? " silvester said

  "most definetly! " they both yelled "shh" silvester and goldy shouted. "ohh sorry" samantha and carson said.

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