Watch a series of ten commercials on television or online. For each commercial, in the text box below, type out the name of the advertiser, the product, and the
key points the ad is making to interest you in the product. For example, the
advertiser may be an insurance company that's trying to sell car insurance, and
the key selling points are the company's low-cost premiums and fast processing
of claims. If you're watching these commercials with other people, ask them to
help

the price of our current war is high; it costs money and it costs lives.

but it does not cost our pride. it does not cost the guilt that would arise from knowing that we did nothing to intervene while our neighboring nations fell to despotic leaders.

it does not cost the terror of knowing that our allies are unstable. it does not cost the fear that we, too, will be next to fall.

which sentence most accurately explains why the speaker's use of the parallel structure is effective in this passage?

a. it underscores that disagreement will not be tolerated and will be dealt with swiftly.

b. it makes the speaker seem like a decisive and capable leader.

c. it emphasizes reasons to fight and inspires listeners to aid the war effort.

d. it establishes the speaker's credibility by acknowledging the difficulties of war.

he can eat everything and drink whatever he wants

explanation:

so is this a rhetorical question?

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