Part E Which elements of the story make it a morality play? Support your answer with evidence from the play.
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i'm not sure i'm so sorry i will see what i can do

sentences vary by structure as well as by function. there are compound, complex, and compound-complex sentences.

simple sentence

i like to read.

a simple sentence has one independent clause.

compound sentence

i like to read, and i also like to write.

a compound sentence includes more than one independent clause, connected by a coordinating conjunction (and, but, for, nor, or, so, or yet).

complex sentence

i prefer to read books that are bestsellers.

a complex sentence includes one independent clause and one or more dependent clauses. (a dependent clause is one that cannot stand alone.) types of dependent clauses include relative clauses (i kicked the boy who pinched me), adverb clauses (i am going home now because i have a curfew), and noun clauses (i don't know what to do next).

compound-complex sentence

although i prefer to read current bestsellers, i do like to read old agatha christie mysteries, and i also like some 20th-century science fiction.

compound-complex sentences take a bunch of clauses (multiple independent clauses, and one or more dependent clauses) and toss them together like a salad. although these sentences take practice to write in a grammatically correct fashion, they can hold a tremendous amount of meaning, and are common in academic writing.

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