The wind laughed as it raced through the farm, stirring up a fury of dust and debris. dee knew that her aunt and uncle were already in the storm shelter, safe and cozy as kittens as the weather raged around them. with her dog barking enthusiastically at her heels, dee dashed for the shelter too. which statement best explains how the word choice supports the mood of the passage? a. a sleepy mood is created by the use of the words fury and raged. b. a playful mood is created by the use of the words fury and raged. c. a sleepy mood is created by the use of the words laughed and dashed. d. a playful mood is created by the use of the words laughed and dashed.

The best answer to the question: Which statement best explains how the word choice supports the mood of the passage, would be, D: A playful mood is created by the use of the words laughed and dashed.

Explanation:

Although when you read this passage you do not get very playful, especially a word like laughed does give you a sense of playfulness, at least on the part of the wind. The wind does seem to be having fun as it races through the farm. The word dashing, which in this context would mean to run, also sets an aura of elevated energy, not exactly the characteristic of a sleepy mood. So, the use of the two words in the entire excerpt, laughed and dashed, gives the reader more a sense of playfulness than a sense of sleepiness. This is why the best answer is D. Words like fury, and rage, which are the other option, do not exactly point towards playfulness, so, we can discard them as well.

im pretty sure a would be the answer

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