25 pts
read the following passage from muir's "calypso borealis" and respond to the prompt.
[5] how long i sat beside calypso i don't know. hunger and weariness vanished, and only after the sun was low in the west i splashed on through the swamp, strong and exhilarated as if never more to feel any mortal care. at length i saw maple woods on a hill and found a log house. i was gladly received. "where ha ye come fra? the swamp, that awfu' swamp. what were ye doin' there? " etc. "mony a puir body has been lost in that muckle, cauld, dreary bog and never been found." when i told her i had entered it in search of plants and had been in it all day, she wondered how plants could draw me to these awful places, and said, "it's god's mercy ye ever got out." [6] oftentimes i had to sleep without blankets, and sometimes without supper, but usually i had no great difficulty in finding a loaf of bread here and there at the houses of the farmer settlers in the widely scattered clearings. with one of these large backwoods loaves i was able to wander many a long wild fertile mile in the forests and bogs, free as the winds, gathering plants, and glorying in god's abounding inexhaustible spiritual beauty bread. storms, thunderclouds, winds in the woods—were welcomed as friends.
how do authors communicate their tone in a piece of writing? identify the tone (or tones) of this passage. explain how the tone(s) is created, providing at least two examples from the passage and explaining how each contributes specifically to the tone(s) you identified. your response should be a paragraph of 5–7 sentences.

c. spelling errors, if not i am so sorry. but i hope it !

c is the answer because first she would blush to make the reader wonder why which they find out in the next line.

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