25. Sc. 2, Lines 325–328: Analyze this passage and identify any lines written in perfect iambic pentameter. Why do other lines not meet the definition of iambic pentameter?

Because they don't have five feet in the line or don't have an unstressed syllable followed by a stressed one like iambic pentameter requires.

Explanation: In poetry, an Iambic Pentameter is a metrical speech that has 5 feet on every line. A foot is a pair of syllables in which there is an unstressed syllable followed by a stressed one.

The lines "As wicked dew as e'er my mother brushed" and "With raven’s feather from unwholesome fen" follow the rules of iambic pentameter, while the line "Upon thy wicked dam, come forth!" has just four feet, and the line "Drop on you both! A southwest blow on ye" doesn't have the unstressed syllables at first.        

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