Humanists believe that
a. shakespeare didn't actually write the plays we think he did.
b. love is an illusion.
c. life on earth is important in its own right.
d. humans and animals existed on the same level.

the answer is a.

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hope this !

c, have a good day ~matya

bearing in mind that painting during the 1700s was a medium used by the artists at courts in order to depict the kings or queens' portraits as well as their power and influence, the painting of king louis xiv as shown in sugar changed the world supports this claim. in this painting it is possible to observe three examples of wealth, power, and influence.

the king is wearing elaborate clothing made of fancy materials.

the king has a sword and sits next to a helmet.

the king sits next to a crown, which symbolizes his power.

wearing expensive clothes, carrying a sword and posing next to a crown are symbols of wealth, power and influence which clearly represent the importance of monarchy during those times.

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