(what i do with my life has got nothing to do with him) if you were the director of this play, what would you tell Thami to do when saying this line?
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if I was the director of the play I would tell him to be serious in his physical appearance so that who so ever he would be informing would take the situation seriously

ian mortimer in his book "the time traveller's guide to elizabethan england" uses a narrative in his style, which successfully conveys a clear description of the life in england in the 16th century. he writes in second person, which makes it comfortable to reader and easy to understand, he captures the readers attention with views of the landscape, the streets, the people including rich and poor. he also depicts some cultural traits from how people behave, eat or what they wear. his descriptions range from the social, economical, the political power to the examples of the life of common people. it could be tell that this book is about social history rather than a   novel.

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