Read the excerpt below and answer the question.

it was about dusk, one evening during the supreme madness of the carnival season, that i encountered my friend. he accosted me with excessive warmth, for he had been drinking much. the man wore a motley. he had on a tight-fitting parts-striped dress, and his head was surmounted by the conical cap and bells. i was so to see him that i thought i should never have done wringing his hand.

what is the purpose of the author's description of fortunato's clothing?

a) fortunato's dress is described to indicate the role his bells will have in the ending scene.
b) fortunato's dress represents the revelry of the carnival season.
c) fortunato's dress is described to show the reader that he had been drinking.
d) fortunato's dress foreshadows his being a fool or buffoon.

recent news about two years ago indicates that a polish forestry student by chance unearthed at a depth of about 40cm (16 inches), during digging in a damp polish forest he found a 13-page manuscript into a thermos flask.

greek jew marcel nadjari was a aischwitz slave who witnessed how the nazi's built big death chambers and crematoriums and told how he was forced to escort fellow jews to the gas chambers. he accounts on this manuscript how the nazi's disguised this chambers to look like showers. also, he describes this place as a process of extermination from the chambers to the trains arriving to take the bodies.

bgr myujyte k6ujrykury which of the following was specifically permitted by the emancipation proclamation?

free african americans were allowed to fight for the confederacy.

free african americans were allowed to enlist in the union army and navy.

enslaved people in border states were allowed to move to the north.

enslaved people in border states were allowed to become confederate citizens.

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

i wouldn't know because i've never read it, but going over it it looks interesting