[1] the twins had opposite natures: the right-handed twin was truthful, and the left-handed twin was deceitful. [2] the right-handed twin always did the right thing, and the left-handed twin always did everything backward. [3] in these ways, the brothers represented the two warring natures that are in all people. [4] quarreling constantly, they used magical powers to create animals that fought one another, and to create plants and medicines that could be used for good or for evil. which best describes sentence 2? it is a run-on sentence. it is a simple sentence. it is a compound-complex sentence. it is a compound sentence.

the sun warms our planet, and with the moon, creates the tides. the moon orbits the earth and in turn, the earth orbits the sun. because they appear to be the same size in the sky, the sun, earth and moon work together to create eclipses. when the moon is directly in between the earth and sun

figurative language is a resource that fiction writers use to make better descriptions of what they want to write about or express. they can improve their stories, as they can elaborate more vivid and colorful sentences. this way, the reader will be able to have more detailed images in his/her mind.

places, objects, people and even feelings or emotions can be described with a lot of detail to metaphors, similes and personifications. making different kinds of comparisons to make a description more specific, as well as assigning human qualities to non-human objects (and vice-versa) can be very useful for science fiction writers.  

on the other hand, alliterations allow writers to elaborate more entertaining and creative sentences. it consists in using a sequence of words that start with the same consonant letter. they can be used to emphasize something important the writer wants to express, or just as a fun literary device.

the answer is: poetry.

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