Two homes were broken into, but there are still no suspects.

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

the major theme of langston hughes’s montages of a dream deferred is the deferred, or delayed, american dream of african americans. the poem is about how african americans failed to achieve their goals in time:

this year, maybe, do you think i can graduate?

i’m already two years late.dropped out six months when i was seven,

a year when i was eleven,

then got put back when we come north.

to get through high high school at twenty's kind of late–

but maybe this year i can graduate.

the poem also depicts how african americans had to keep postponing their needs with a hope that someday they would be able to obtain what they desired:

maybe now i can have that white enamel stove

i dreamed about when we first fell in love

eighteen years ago.

but you know,

rooming and everything

then kids,

cold-water flat and all that.

but now my daughter’s married

and my boy's most grown–

quit school to work

and where we're moving

there ain't no stove–

maybe i can buy that white enamel stove!

however, despite their deferred dreams, the poem shows the refusal of african americans to give up easily and let go of their dreams of a better life. their dreams may have been delayed, but they did not lose hope.

is the answer