Which of the following excerpts contains an allusion? Select all that apply. EXCERPT 1
“But, masters, here’s money for you: and the general
so likes your music, that he desires you, for love’s
sake, to make no more noise with it.” Othello (3:1)
EXCERPT 2
“Immoderately she weeps for Tybalt’s death,
And therefore have I little talk’d of love;
For Venus smiles not in a house of tears.” Romeo and Juliet (4:1)
EXCERPT 3
“The morning wind forever blows, the poem of creation is uninterrupted; but few are the ears that hear it. Olympus is but the outside of the earth everywhere.” Henry David Thoreau, Walden
EXCERPT 4
“A mote it is to trouble the mind’s eye.
In the most high and palmy state of Rome,
A little ere the mightiest Julius fell,
The graves stood tenantless and the sheeted dead
Did squeak and gibber in the Roman streets.” Hamlet (1:1)
EXCERPT 5
“And can you, by no drift of circumstance,
Get from him why he puts on this confusion,
Grating so harshly all his days of quiet
With turbulent and dangerous lunacy?” Hamlet (3:1)
EXCERPT 1
EXCERPT 2
EXCERPT 3
EXCERPT 4
EXCERPT 5

walter refusing lindner's offer.

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