Pam is writing a literary analysis essay on Giovanni Boccaccio's story "Federigo's Falcon." Which two of the following should she include in the introduction paragraph of her essay? Even though Monna was unable to fulfill her dying son's wish, she found it in her heart to forgive Federigo after a period of mourning. An Italian writer and poet, Giovanni Boccaccio grew up in Florence. His mentor, the great poet Petrarch, translated Homer's Iliad and Odyssey at Boccaccio's request. Despite the tragic deaths of Monna's son and Federigo's falcon, Monna and Federigo find happiness with each other. "Mother, if you can arrange for me to have Federigo's falcon, I think I would be well very soon." (Boccaccio) Giovanni Boccaccio's "Federigo's Falcon" is about Federigo, who is in love with Monna. He sacrifices his beloved falcon to prepare a meal fit for her, not knowing that she has come to request the falcon to save her dying son.

the teacher i would like to have must be a kind, caring and understandable teacher. she should be interactive with us and always plan fun activities to in our studies. she should be a teacher who would correct our mistakes when we do something wrong and guide us if we are weak. she should always be strict if we do something bad but must be praising us when we do something good. she she not take any as her favorite in her class but take everyone as her favorite.

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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