In "the dinner party," which word best explains how renuka acts toward elizabeth and susannah?

lennie

is very stupid, big and strong and sweet, he loves soft things

george

is smart reosponible and watches over lennie

candy

candy is an old ranch worker who has lost one of his hands in a farm accident. he's spent the best years of his life working on someone else's ranch, only to lose his hand and have little money.

curly

is the ranch owners son he is said to have vasilene in one glove to keep that hand soft for his wife

crooks

crooks. crooks is a lively, sharp-witted, black stable-hand, who takes his name from his crooked back. like most of the characters in the story, he admits that he is extremely lonely. when lennie visits him in his room, his reaction reveals this fact.

curlys wife

is lonly and seems to flirt with most of the men on the farm she does not like her hunband much.

1. the human rights issue in the novel is equlity the men in the story are poor and curly is mean to all of them as if they are just dirt

2. the first issue comes up when lennie kills the mouse

3. when lennies love for soft things gets in the way and he kills curlys wife as shes running away.

4. the issue is resolved by the death of lennie.

5. lennie suffers because of his death he will never be able to tend the rabbits.

6. the wording in the qoutations imply what is happening in the story

7. when lennies love for soft things gets in the way and he kills curlys wife as shes running away.

8.   the issue is resolved by the death of lennie.

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