Le veau urvalli, lapes12. ivision isl
select the correct text in the passage.
which sentence in this excerpt from leo tolstoy's the death of ivan ilyich shows the human tendency to contemplate one's past life?
"but if that is so," he said to himself, "and i am leaving this life with the consciousness that i have lost all that was given me and it is impossible to rectify
it--what then?
he lay on his back and began to pass his life in review in quite a new way. in the morning when he saw first his footman, then his wife, then his
daughter, and then the doctor, their every word and movement confirmed to him the awful truth that had been revealed to him during the night. in them
he saw himself--all that for which he had lived--and saw clearly that it was not real at all, but a terrible and huge deception which had hidden both life
and death. this consciousness intensified his physical suffering tenfold. he groaned and tossed about, and pulled at his clothing which choked and
stified him. and he hated them on that account.
he was given a large dose of opium and became unconscious, but at noon his sufferings began again. he drove everybody away and tossed from side
to side.
his wife came to him and said:
"jean, my dear, do this for me. it can't do any harm and often . healthy people often do it."
he opened his eyes wide.
"what? take communion? why? it's unnecessaryl
she began to cry
"yes, do, my dear. i'll send for our priest. he is such a nice man."
"all right. very well," he muttered.
when the priest came and heard his confession, ivan ilyich was softened and seemed to feel a relief from his doubts and consequently from his
sufferings, and for a moment there came a ray of hope. he again began to think of the vermiform appendix and the possibility of correcting it. he
received the sacrament with tears in his eyes.
reset
next

substitute y = 2x - 4 to x + 2y = 12:

x + 2(2x - 4) = 12     use distributive property

x + (2)(2x) + () = 12

x + 4x - 8 = 12     add 8 to both sides

5x = 20     divide both sides by 5

x = 4

put the value of x to the first equation:

y = 2(4) - 4

y = 8 - 4

y = 4

awnser: alliteration, assonance, onomatopoeia.

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