In a paragraph of five to eight sentences, identify the author's use of implied (indirectly stated) and explicit (directly stated) comparisons using the example in bold. provide at least one example of each from the text and explain their meanings. use proper spelling and grammar.

it is with blocks of just such arbitrary size and figure that the literary architect is condemned to design the palace of his art. nor is this all; for since these blocks, or words, are the acknowledged currency of our daily affairs, there are here possible none of those suppressions by which other arts obtain relief, continuity, and vigour: no hieroglyphic touch, no smoothed impasto, no inscrutable shadow, as in painting; no blank wall, as in architecture; but every word, phrase, sentence, and paragraph must move in a logical progression, and convey a definite conventional import.

beneatha's hair symbolizes wealth  

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the correct answer is: reveal gregor as an untidy individual.

in metamorphosis by franz kafka, gregor samsa is the main character, who one day wakes up as a bug, and the attitude he takes upon his transformation forces him to go deeper on his existence and the new features of his body.

in this excerpt the writer mentions a table full of collection textile samples, which gives us a hint about gregor being messy. later on the book we discover how he is a really untidy individual.

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