Critical Reading The following question is based on your reading of Macbeth, Act III. In the Tragedy of Macbeth, from the beginning of Act I to the end of Act III, what major change do we see in Macbeth? a. He is quick to use treachery to suit his needs. B. He enjoys a warm and respectful relationship with his comrades. C. He has a more loving relationship with Lady Macbeth. D. He makes use of logical advice in all his decisions.

after the moon goes from a full moon it turns into a waning gibbous moon.

here's where my answer came from. i hope this .

at nineteen years old, nicole c. kear's biggest concern is choosing a major--until she walks into a doctor's office in midtown manhattan and gets a life-changing diagnosis. she is going blind, courtesy of an eye disease called retinitis pigmentosa, and has only a decade or so before lights out. instead of making preparations as the doctor suggests, kear decides to carpe diem and make the most of the vision she has left. she joins circus school, tears through boyfriends, travels the world, and through all these hi-jinks, she keeps her vision loss a secret.

when kear becomes a mother, just a few years shy of her vision's expiration date, she amends her carpe diem strategy, giving up recklessness in order to relish every moment with her kids. her secret, though, is harder to surrender - and as her vision deteriorates, harder to keep hidden. as her world grows blurred, one thing becomes clear: no matter how hard she fights, she won't win the battle against blindness. but if she comes clean with her secret, and comes to terms with the loss, she can still win her happy ending

googles summry you can summarize this in your own words

the answer is b:   the american composer and singer bob dylan composed many songs, by which he is very famous and considered one of the mosts influencial artists of pop music. he was awarded the nobel prize in literature for his type of poetry. but the huge impact his songs had are due to both lyrics and music, without which the message would lose strength.

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