Which lines in the poem suggest the preciousness of love? sonnet 12 by elizabeth barrett browning indeed this very love which is my boast, and which, when rising up from breast to brow, [doth crown me with a ruby large enow to draw men's eyes and prove the inner cost,—] this love even, all my worth, to the uttermost, [i should not love withal, unless that thou hadst set me an example], shown me how, [when first thine earnest eyes with mine were crossed], and love called love.[ and thus, i cannot speak of love even, as a good thing of my own]: thy soul hath snatched up mine all faint and weak, [and placed it by thee on a golden throne,—] and that i love (o soul, we must be meek! ) is by thee only, whom i love alone. (options are inside [ more than one can be chosen.)

When first thine earnest eyes with mine are crossed .

And thus, I cannot speak of love, as a good thing of my own

Explanation:

From the the lines When first thine earnest eyes with mine are crossed and And this, I cannot speak of love, as a good thing of my own you will see the geneuiness and preciousness of the love from it.

From the lines we can deduce the quality that render the love valuable and how the writer cherish Love.

Through the lines we can understand how beautiful and wonderful love is cherished and how a person can desire good and wonderful for the other person. It indicate the sincerity and truthfulness of the love to the other person.

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

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