Add me on this thing pls

agamemnon was the leader of the greek troops in the trojan wars and orestes was his son. when agamemnon returned from the war, he was murdered by his wife's lover in conjunction with his wife. orestes could not stop them but he seeked vengeance for his father. after a long time, he found them and avenged his father while killing them. he killed his mother, but greek mythology claims that his act was just and he was spared the remorse and the guilt. there are a lot of similarities with the ulysses/telemachus father son pair. ulysses was also one of the leaders of the excursion to troy. he still has not returned home, but in a sense the suitors of penelope are marring his estate and his reputation. while penelope is faithful to ulysses, the suitors by taking hold of the palace and committing their shameful acts are dishonoring ulysses. in the same context, telemachus is asked just like orestes to restitution his father's honor, regardless of whether he is alive or dead. athena is him and encouraging him with this example and he himself feels the need to save his father

b. the poet identifies with private people.

    in the stanza, dickinson states she doesn't wish to seek fame and recognition from the public eye. nor is she afraid of authority figures, and you can definitely tell she isn't hiding something. more as she identifies with private people, who are not known by the community

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