Select the correct answer.
in this famous speech, theodore roosevelt speaks about the need to present all facts when talking about public figures. which of these best describes the rhetorical device the speaker uses to convince the audience?
a.
the use of "sanity" to appeal to reason
b.
the use of "society" to highlight a common cause
c.
the use of "celestial crown" as a metaphor to indicate the supremacy of politicians
d.
the use of "men with muck-rakes" as a metaphor for writers who are biased in their approach
from the man with the muck-rake
april 14, 1906
theodore roosevelt
at the risk of repetition let me say again that my plea is, not for immunity to but for the most unsparing exposure of the politician who betrays his trust, of the big business man who makes or spends his fortune in illegitimate or corrupt ways. there should be a resolute effort to hunt every such man out of the position he has disgraced. expose the crime, and hunt down the criminal; but remember that even in the case of crime, if it is attacked in sensational, lurid, and untruthful fashion, the attack may do more damage to the public mind than the crime itself. it is because i feel that there should be no rest in the endless war against the forces of evil that i ask that the war be conducted with sanity as well as with resolution.
the men with the muck-rakes are often indispensable to the well-being of society; but only if they know when to stop raking the muck, and to look upward to the celestial crown above them, to the crown of worthy endeavor.

avengers: endgame.

explanation:

avengers: endgame.

do you know the answer?

direct attacks on us ships

germany’s attempted alliance with mexico

a desire to preserve democracy in the world

the thousand and one nights – or, as i prefer to call them in the following for purely practical reasons: the arabian nights – as we perceive them three hundred years after antoine galland’s epochal french adaptation bear a distinct arabic imprint. meanwhile, the commonly accepted model for their textual history acknowledges various stages in the conceptualization and effective formation of both the collection’s characteristic frame story and the embedded repertoire. the vast majority of tales in the preserved manuscripts of the nights has been integrated into the collection during two periods of arabic influence, the so-called baghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages are preceded by an iranian version, probably dating to pre-islamic times, which in its turn profits from both structural devices and narrative contents originating from indian tradition. considering the eminent position that iran and iranian culture hold in the early stages of the textual history of the arabian nights, surprisingly few details are known concerning the collection’s relation to and its actual position within the iranian cultural context. in the following, i will discuss links between the arabian nights and iranian culture on several levels. in surveying these 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 arabian nights in modern iran