You've always wanted to ride the Ferris wheel! You buy your ticket, get an, and up you go. Then stop. Then go. Then stop. You wonder what is happening, but then you
realize that they are letting people on and off. Here is what happens on your ride:
You travel 1/4 of the way around, and then stop
The ride starts again, only to stop after going another 0.45 turn.
The ride starts again, but you go backward 1/2 turn
The ride starts again, and this time you make it 1.5 of the way around

When the ride finally starts again, it continues to go around for 1 3/10
turn.
You exit the ride confused. How many times did you go around the wheel

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the sentence that best describes the tone of the passage from the radio broadcast compared to the passage from the book is b. the radio broadcast has a more surprised tone.

consider the text evidence: in the passage from the book, the description is more matter-of-fact. it is simply describing the things resembling little grey snakes, but there is no urgency in the description. on the other hand, in the passage from the radio broadcast, there is definetely urgency (you can tell from the expression used, "good heavens", which clearly indicates surprise.)

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