Write Exposition, Conflict, Rising Action, Climax, Falling Action, or Resolution after each event. 1. Daedalus created wings for himself and Icarus.

2. Icarus began to fall because the sun melted the wax holding his feathers together.

3. King Minos ordered Daedalus to be shut up in a tower.

4. Daedalus built a temple to Apollo and hung up his wings.

5. Daedalus wants to escape the island.

6. Icarus fell into the sea.

read this passage from the crisis. what rationale is paine using for going to war with great britain? my own line of reasoning is to myself as straight and clear as a ray of light. not all the treasures of the world, so far as i believe, could have induced me to support an offensive war, for i think it murder; but if a thief breaks into my house, burns and destroys my property, and kills or threatens to kill me, or those that are in it, and to "bind me in all cases whatsoever" to his absolute will, am i to suffer it? what signifies it to me, whether he who does it is a king or a common man; my countryman or not my countryman; whether it be done by an individual villain, or an army of them? if we reason to the root of things we shall find no difference; neither can any just cause be assigned why we should punish in the one case and pardon in the other.

it is waged war against an army of countrymen

it would lead to independence from britain

it would be an offensive war

it would be a defensive war

i think continuous as the stars that shine and twinkle on the milky way, they

stretched in never-ending line along the margin of a bay; ten thousand saw

i at glance, tossing their heads in sprightly dance.

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