Ill mark you as brainliest if you me ? which of the following quotes to illustrate that montag is desperate to learn and is willing to go to take great risks in order to be taught? select all that apply. question 20 options: a) "nobody listens any more. i can't talk to the walls because they're yelling at me. i can't talk to my wife; she listens to the walls. i just want someone to hear what i have to say. and maybe if i talk long enough, it'll make sense. and i want you to teach me to understand what i read" (bradbury).b) "nobody listens any more. i can't talk to the walls because they're yelling at me. i can't talk to my wife; she listens to the walls. i just want someone to hear what i have to say. and maybe if i talk long enough, it'll make sense. and i want you to teach me to understand what i read" (bradbury).c) "i don't know. we have everything we need to be happy, but we aren't happy. something's missing. i looked around. the only thing i positively knew was gone was the books i'd burned in ten or twelve years. so i thought books might " (bradbury).d) "i've tried to remember," said montag. "but, hell, it's gone when i turn my head. god, how i want something to say to the captain. he's read enough so he has all the answers, or seems to have. his voice is like butter. i'm afraid he'll talk me back the way i was. only a week ago, pumping a kerosene hose, i thought: god, what fun! " (bradbury

last one is the answer

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