Refer to Explorations in Literature for a complete version of this passage.

What effect does the symbol have on the meaning in "Here Is New York" by E. B. White?

The commuter is the queerest bird of all. The suburb he inhabits has no essential vitality of its own and is a mere roost where he comes at day’s end to go to sleep.

As birds are inherently pests, the writer uses symbolism to express his view that commuters offer nothing positive to New York.

The symbol of commuters as birds illustrates how they come and go without ever experiencing the city.

The symbolism of the suburbs as a “roost” expresses the safety and comfort of the commuter’s home.

By describing the commuter as a bird, the writer emphasizes the freedom of commuters who can come and go from the city as they please.

i believe it is the first choice (1.)

because the major theme is(“both the wild and civilization have rules.”)

and also as u said,( based on what buck learns within the call of the wild, "both the wild and civilization have rules".this is true of humans within society as well.

the answer to this question is unstoppable.

the correct way to cite this in apa format is the following: smith, d. (2001). world environment day. retrieved from  

apa (american psychological association) style is most commonly used to cite sources within the social sciences.  

quotation styles can differ by use and by styles and every subject has its own unique style of quotation.

explanation:

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