Has anyone done this i need help if you could please answer this it would be amazing!

the answer should be b.

explanation:

it should be b because she researched before writing so it would be in past tense. "the author researches her subject before she had written the first draft.

malvolio only loves olivia because he thinks if they get married to olivia he will have a noble title, people to serve him, and fine clothes to wear. also he thinks if they get married he will have many expensive things, and he thinks he will be able to order toby around. malvolio only wants to be noble and boss people around he dose not really love olivia. but viola love for duke orsino is real she really loves orsino.

i think he will fail because he tried to get her to love him and she said oh, you are sick of self-love, malvolio. there is no slander in an allowed fool. so i think she knows what malvolio is trying to do. she knows that he only wants to marry her because he wants to be noble and boss people around so that it why i think she said oh, you are sick of self-love, malvolio. there is no slander in an allowed fool because she new he was selfish.

i would say a because the main idea is what the author is the point the author is trying to get across.

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