IDENTIFY THE UNDERLINED FOLLOWING PARTS OF SPEECH AND ALSO TELL ITS KIND. 1. He has lots of 'wisdom'
2. His 'grand-father' loves to travel
3. The 'building' was demolished
4. They love 'one another'
5. 'He' has bought a shop
6. He 'himself' went to the mall
7. They fought the army 'themselves'
8. 'Each' of them spoke the truth
9. 'Some' men are born great
10. He 'lives' in the forest
11. He 'fell' on the floor
12. He 'turned' red
13. The mangoes are 'almost' ripe
14. He was 'completely' mad with anger
15. The 'evil' man went mad

c: the reader is first introduced to the girl bragging about how great

an actor she is.

explanation:

the girl is boasting about how talented she is, but in reality she is not talented enough to gain a part. (this could also be

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