Which technique does the author use in this scene from The Squatter and the Don? “Always the same cautious Mary Moreneau, who tortured me with her doubts and would not have me until F
took compassion on me," said he, smiling, looking at her fondly, for his thoughts reverted back to those days
Miss Mary was afraid to marry him; but, after all, he won her and brought her all the way from Washington
New England home.
William Darrell was already a well-to-do young farmer in those days, a bachelor twenty-eight to thirty years o
heir to a flourishing New England farm, and with a good account in a Boston bank, when Miss Mary Morenea
New England from Washington to visit her aunt, Mrs. Newton. As Mrs. Newton's husband was William Darrell
nothing was more natural than for Mary to meet him at his uncle's house. Nobody expected that William wou
love with her, as he seemed to be proof against Cupid's darts.
o foreshadowing
o parallel plots
o flashback
o linear plot

it would be b.) because if you process of elimination and when mr.white pulls the monkey it’s the action of the whole story

explanation:

uogds' 'abodus; , mhngcfdghbnjmkjnhgfdvbnm  

tessa’s film suffers when she refuses to deviate from her plan as obstacles arise.

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