"The Moustache" by Robert Cormier Character Which character is facing the conflict? Type of Conflict Is the conflict internal or external? Problem What is the problem that the character is struggling against? Solution How can the character solve this conflict?

Answer and Explanation:

1. The character who faces the conflict is Mike, who is the protagonist of the story and the narrator of the story, that is, we know all of this according to Mike's eyes and his view of what is happening.

2. Mike faces an internal conflict that is related to the very thoughts he has and the feelings he feels about the conflict he is experiencing.

3. Mike went to visit his grandmother at the nursing home and she mistook him for her ex-husband and started asking him for forgiveness for the things she did in the past. Mike pretends that he is actually the grandmother's husband, but faces a big problem, as he feels extremely guilty for cheating on her like that, but he doesn't have the courage to show her that he is not who she thinks.

4. The character solves this problem by going home and removing what caused him to be confused with his grandmother's old husband, the mustache. With that, the character shows that he is leaving this story behind and will not think about it anymore.

second person

explanation:

note the heavy uses of "you", "your", as well as "he".

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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