How does the poet's use of ryme in passage 2 contribute to the overall tone of the poem? A) it creates a playful tone, as if Daphne is taunting Apollo.

B)It creates a tranquil tone ,as if Daphne is singing lullaby.

C)It develops a bitter tone as it reveals that Daphne is cruel.

D) It develops a suspenseful tone as it suggests that Daphne is leaving clues for Apollo.

the answer is b-$11,337.

a) why did you buy only one bunch of bananas ? it's not enough for the party .

b) can i have a carton of juice, ? it looks very fresh !

c) a kilo of milk ? that's 2 pounds, .

d) i've got only one bar of chocolate . you can have a half of it .

e) cut just a small slice of cheese for me . i'm trying to lose weight .

f) do you want a bowl of soup ? it's delicious !

g) can i have a tin of biscuits, ?

h) do you want a loaf of bread ? i bought three .

i) let's buy a glass of wine to celebrate our wedding anniversary !

j) don't leave the jar of honey on the table . the kids will break it .

k) we need to buy some sweets and a bottle of coke .

l) would you like a cup of hot tea ? you've got a cold !

m) can i have a piece of chocolate cake, ? it's my favourite dessert .

n) i bought a beautiful packet of flowers for my mum's birthday .

hope this !

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

they are both made up so they are fake.