PLZ HELP ME english romeo and juliet 2. In a well developed paragraph, respond to the prompt below after you have watched Act IV. Make sure to use textual evidence (references to the plot- you won't have page numbers from the clip). Post your response in the discussion thread on this page
- Most of us have had the experience of telling a “white lie” or practicing a deception that grows more and more complex. What are the results of Juliet and Romeo’s acts of deception in this act? Can you relate to an experience in your life? What happened and what did you learn from the experience

according to the options stated, the one that is correct is the second option. the author most likely includes the panel to hint at the strong bonds among his family members. besides, the image from art spiegelman’s maus is common to show and portray the innocence and naivete of the children during the holocaust as well as the fact that millions of innocent jews were rounded up and taken by train to camps.

the answer is a because the astrophel does more and sidney goes to the astrophel more than stella.

boccaccio employs the voice of his narrator dioneo to represent his ideas on the tension between masculinity and femininity.  while dioneo excites the members of the brigata and recognizes women for their unique skills and independent ideas, he concludes the decameron with a story reminiscent of the society from which these young aristocrats escaped, revealing misogynistic overtones.  dioneo boccaccio is able to explore the gender disparity which is inherent in 14th century florentine society.

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