Review the final stanza of the poem. Then, complete

the statements.
Dickinson extends the metaphor in the last stanza by
comparing hope to
This comparison shows that hope
Based on the extended metaphor, the reader can infer
that Dickinson

the present continuous is a verb tense which is mainly used to indicates that an action is in progress at the moment of speaking.  

it is formed using: person + verb to be (am/is/are) +verb + - ing form  

example: i am studying at this moment .

in addition, the present continuous is also used in order to express things that will or will not happen in the near future.

example: i am having dinner with some friends tonight.

the speaker sometimes   uses it   to express that an action is repeated and it causes irritation on the part of the speaker

example: my sister is constantly complaining about everything.

the original because it was the first to be created which means it is most likely to be tried the hardest. meaning the actors tried their hardest to make it right because shakespeare was so famous.

hope this : )

vey information about pap? physical description beliefs actions interactions

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