Which of the following represents a true cause-and-effect relationship in Antigone? Creon refuses burial to Polyneices—Antigone defies Creon—Creon refuses to yield—Creon loses everything
Creon challenges Tiresias—Tiresias predicts Creon’s doom—Creon yields his power
Antigone challenges Creon—Antigone takes her life—Haemon takes his life
Tiresias predicts Creon’s doom—Creon tries to save Antigone—Antigone takes her life

the term that describes the best dear evan hansen

gilgamesh is a hero by birth as the epic explains it. in the epic the birth is explained in the way which tells us that gilgamesh’s creation was made perfect by the contribution of various god and that signifies the goal in his life, which was to become a hero and save mankind. an example from the text says. "the glorious sun shamash bestowed upon him glory; adad the terrible god of storms bestowed upon him courage. the great gods perfected his magnificence beyond all others, terrible like the great wild bull. two thirds god they made him; one third man they made him." a man born with superhuman qualities and partly god is destined to be a hero.

the heroic deeds carried by him later in his life also prove the heroic character of gilgamesh. for example hi battle with the ultimate beast humbaba is a proof of his bravery and characteristic heroism. gilgamesh was warned about the beast as the text says about humbaba “whose roar is a flood, whose mouth is fire, whose breath is death". but with the superhuman strength gilgamesh did the job

there is not such an "uncle" in the poem "a servant to servants". the narrator refers to many characters -particularly her brother and her husband- both suffering from mental illness. the woman is also suffering because she does something to but she is not happy with the situation.

the poem has a dramatic monologue about the woman life's circumstances and her traumatic events form the past.

"a servant to servants" is a poem written by robert frost, and is part of a collection of poems "north of boston", of 1915.

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