✨McTeague✨ So he had opened his "Dental Parlors" on Polk Street, an "accommodation street" of small shops in the residence quarter of the town.
Here he had slowly collected a clientèle of butcher boys, shop girls, drug clerks, and car conductors. He made but few acquaintances. Polk Street
called him the "Doctor" and spoke of his enormous strength. For McTeague was a young giant, carrying his huge shock of blond hair six feet three
inches from the ground, moving his immense limbs, heavy with ropes of muscle slowly, ponderously. His hands were enormous, red, and covered
with a fell of stiff yellow hair, they were hard as wooden mallets, strong as vises, the hands of the old-time car-boy. Often he dispensed with forceps
and extracted a refractory tooth with his thumb and finger. His head was square-cut, angular, the jaw salient, like that of the carnivora.
McTeague's mind was as his body, heavy, slow to act, sluggish, yet there was nothing vicious about the man. Altogether he suggested the
draught horse, immensely strong, stupid, docile, obedient
When he opened his "Dental Parlors," he felt that his life was a success, that he could hope for nothing better
(from McTeague by Frank Nors)
draught (draft) horse a horse used for hauling heavy loads
What does this passage most strongly suggest about the field of dentistry in McTeague's time?
01 Dentistry was a manageable livelihood.
2. Dentistry required minimal care and precision
3. Dentistry was an unpopular form of employment
4. Dentistry required independence and resourcefulness

it's like watching a fable, it's not really about the animals but rather it has a meaning that is understood by us and that is implicit, not explicitly said. implicit ideas are common and are used in almost all works of art, from writing to painting to sculpting.

man vs. nature - first choice

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