Antigone and Ismene heard with horror what Creon had decided. To Ismene, shocking as it was, overwhelming her with anguish for the pitiful dead body and the lonely, homeless soul, it seemed, nevertheless, that nothing could be done except to acquiesce [to accept without protest]. She and Antigone were utterly alone. All Thebes was exulting that the man who had brought war upon them should be thus terribly punished. "We are women," she told her sister. "We must obey. We have no strength to defy the State." "Choose your own part," Antigone said. "I go to bury the brother I love." "You are not strong enough," Ismene cried. "Why, then when my strength fails," Antigone answered, "I will give up." She left her sister; Ismene dared not follow her. How does Antigone's action as a rebel reveal the universal theme?

ichabod crane is a fictional character and the protagonist in washington irving's short story, "the legend of sleepy hollow", first published in 1820. in popular culture, this story is sometimes retitled as "the headless horseman."

what are the options

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