By Louisa May Alcott

Mr. Bhaer saw the drops on her cheeks, though she turned her head away. The sight seemed to touch him very much, for suddenly stooping down, he asked in a tone that meant a great deal, "Heart's dearest, why do you cry?"
Now, if Jo had not been new to this sort of thing she would have said she wasn't crying, had a cold in her head, or told any other feminine fib proper to the occasion. Instead of which, that undignified creature answered, with an irrepressible sob, "Because you are going away."
"Ach, mein Gott, that is so good!" cried Mr. Bhaer, managing to clasp his hands in spite of the umbrella and the bundles, "Jo, I haf nothing but much love to gif you. I came to see if you could care for it, and I waited to be sure that I was something more than a friend. Am I? Can you make a little place in your heart for old Fritz?" he added, all in one breath.
"Oh, yes!" said Jo, and he was quite satisfied, for she folded both hands over his arm, and looked up at him with an expression that plainly showed how happy she would be to walk through life beside him, even though she had no better shelter than the old umbrella, if he carried it.
It was certainly proposing under difficulties, for even if he had desired to do so, Mr. Bhaer could not go down upon his knees, on account of the mud. Neither could he offer Jo his hand, except figuratively, for both were full. Much less could he indulge in tender remonstrations in the open street, though he was near it. So the only way in which he could express his rapture was to look at her, with an expression which glorified his face to such a degree that there actually seemed to be little rainbows in the drops that sparkled on his beard. If he had not loved Jo very much, I don't think he could have done it then, for she looked far from lovely, with her skirts in a deplorable state, her rubber boots splashed to the ankle, and her bonnet a ruin. Fortunately, Mr. Bhaer considered her the most beautiful woman living, and she found him more "Jove-like" than ever, though his hatbrim was quite limp with the little rills trickling thence upon his shoulders (for he held the umbrella all over Jo), and every finger of his gloves needed mending.
21
Select the correct answer.
Which detail is present in the passage and in the illustration?
A.
Jo is heartbroken and cries at the thought of Mr. Bhaer leaving town.
B.
Mr. Bhaer shelters Jo with an umbrella even though his hands are full.
C.
Jo immediately confesses her love for Mr. Bhaer, which leads to his proposal.
D.
Mr. Bhaer looks regal in his tall hat, which managed to withstand the pouring rain.

the hunger games, written by  suzanne collins, is fiction in the young adult genre, which is not my age group, but i found myself unable to put it down. its combination of nerve-racking tension, thrilling action, and engaging love story kept me up until the wee hours. i was surprised at how completely engrossing the plot was. like  brave new world, this story is set in a future where the government oppresses its people, but the book also borrows ideas from the greek myth of theseus and the minotaur.

divided into 12 districts, ruled by an oppressive government located at the  capitol. katniss everdeen, a 16-year-old girl from district 12, takes her younger sister’s place as one of 24 “tributes” selected every year to participate in the hunger games at the capitol.

while i found this book absolutely enthralling, i was surprised it was aimed at an audience of young adults. it seems extremely intense for anyone younger than 16 or 17. for example, there is a scene where one young tribute is slowly eaten alive by wolf-like creatures all night long, and katniss has to finally throw a weapon at him to end his misery. i found this a little too disturbing when i considered the age of the character.

the intensity of the action was something one would find in a more mature book, but the age of the characters and the simplicity of the prose were aimed at a much younger audience. in addition, this book was written in present tense, which i found annoying, but that’s more of a personal preference than a stylistic fault. it was also edited somewhat poorly, but that rarely distracted from the plot. for example, the author often spoke in sentence fragments to describe how katniss felt, which might have been an attempt to reflect on her thought process, but i found it disorienting to read a lot of really short sentences all together. it would have been better to vary the sentence length on occasion, but the story was still coherently.

overall,  the hunger games  was an excellent, enthralling read that i highly recommend. if it was more clearly marked for older teens, it would have been better, but it was a fantastic book with a wonderfully creative plot.

happy to .

pls mark as brainliest.

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

c is so !