Which excerpt from The Great Gatsby is the best example of foreshadowing? O ... he stretched out his arms toward the dark water in a curious way, and, far as I was from him, I could have
sworn he was trembling. Involuntarily a glanced seaward -- and distinguished nothing except a single green light,
minute and far away, that might have been the end of a dock. When I looked once more for Gatsby he had
vanished, and I was alone again in the unquiet darkness,
Of course I knew what they were referring to, but I wasn't even vaguely engaged. The fact that gossip had
published the banns was one of the reasons I had come East. You can't stop going with an old friend on account of
rumors, and on the other hand I had no intention of being rumored into marriage.
I said lightly that I had heard nothing at all, and a few minutes later I got up to go home. They came to the door
with me and stood side by side in a cheerful square of light. As I started my motor Daisy peremptorily called:
"Wait"
"Her family is one aunt about a thousand years old. Besides, Nick's going to look after her, aren't you, Nick? She's
going to spend lots of week-ends out here this summer. I think the home influence will be very good for her."

1.the hosts on two opposing mountains stood,  

2.thick as the foliage of the waving wood;  

3.between them an extensive valley lay,  

4.o'er which the gleaming armour pour'd the day,  

5.when from the camp of the philistine foes,

6. dreadful to view, a mighty warrior rose; in the dire deeds of bleeding battle skill'd,

because she needs money

caminas makes the most sense here since it means to walk.

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