56: 35 read the passage from "by the waters of babylon.” at first i was afraid to approach him—then the fear left me. he was sitting looking out over the city—he was dressed in the clothes of the gods. his age was neither young nor old—i could not tell his age. but there was wisdom in his face and great sadness. you could see that he would have not run away. he had sat at his window, watching his city die—then he himself had died. but it is better to lose one's life than one's spirit—and you could see from the face that his spirit had not been lost. i knew, that, if i touched him, he would fall into dust—and yet, there was something unconquered in the face. how does the conflict at the beginning of the paragraph move the plot forward? the narrator realizes that he is scared of the gods. the narrator realizes that he distrusts the spirits the narrator realizes that the god was a man. the narrator realizes that he is powerful like the gods.

In 1808, their friend, the romantic poet clemens brentano, asked them to collect all types of folk tales so he could use them in a book of literary fairy tales. in 1810, they sent him fifty-four texts, which they fortunately copied. fortunately, because brentano then lost the manuscript in the ölenberg monastery in alsace and never used the grimms’ texts. when they realized that brentano was not going to use the tales, they decided, upon the advice of another romantic writer and mutual friend, achim von arnim, to publish their collection. it had grown to eighty-six tales, which they published in 1812, and then another seventy, which they published in 1815. –“how the grimm brothers saved the fairy tale,” jack zipes what structural technique does the writer use in this passage? the writer describes events in chronological order. the writer describes events in their order of importance. the writer provides a central idea and then lists examples. the writer shows how the grimms made mistakes and then solved them.