Read the following passage and answer the question. OEDIPUS: Mock my excellence, but you will find out I am truly great. TEIRESIAS: That quality of yours now ruins you. OEDIPUS: I do not care, if I have saved the city. TERESIAS: I will go now. Boy, lead me away. OEDIPUS: Yes, let him guide you back. You’re in the way. If you stay, you’ll just provoke me. Once you’re gone, you won’t annoy me further. What can we infer about Oedipus from this passage? that he wants Teiresias to stay that he is proud, but also committed to protecting Thebes that he likes Teiresias that he’s tired of taking care of Thebes

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the answer is b) ''i hereby express my profound remorse together with my sincere mourning ''.

the reason being that although all of the options provided are valid the main idea of the speech by prime minister junichiro koizumi is to express his and japan's current antiwar pledge.

he states that 59 years had passed since the war, he acknowledges the 3 million japanese that lost their lives during the war and those countries who were affected by their decisions, as well as the way japan intends to develop relationships across the globe however all of this can be summarize to how japan as a whole regrets the war and its consecuences.

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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