Monumental tombs such as the great pyramid of khufu and the elaborate rituals surrounding mummification stand as testaments to the egyptians' views about death and afterlife, while gilgamesh's quest for immortality and enkidu's description of the underworld give us insight into the mesopotamian conception of death and the human condition. what does this evidence teach us? in what ways did these ancient civilizations view death differently? for this week's reflection, analyze the evidence presented, specifically the epic of gilgamesh, and contrast the mesopotamian view of death with their ancient counterpart, the egyptians.

The evidence teaches us that the Egyptians believed in life after death, and the Mesopotamian did not.

Explanation:

The Egyptians believed in an afterlife much similar to life itself, thus explaining why they sought preservation through mummification and were buried in pyramids along with their slaves, food, gold, and clothing - their earthly possessions were believed to followed them to their afterlife. Death was merely a transition. As for the Mesopotamian, by analyzing the Epic of Gilgamesh, death was not a transition, but the end of oneself. Gilgamesh is in the pursuit of immortality, only to discover that is impossible for humans, for gods detain life, and humans are mortals.

the legal limit for the drivers who can drive after consuming any amount of alcohol is 21 years.

explanation:

on november 1, 1996, a "zero tolerance law" was put into effect in the new york state.

according to this zero tolerance law, for people under the age of 21 years, it was illegal to purchase and possess alcohol or to drive after consuming any amount of it.

also, the alcohol involvement rate for the drivers under the age of 21 was roughly twice that of elderly drivers.

answer:   a good wench, give it me.

iago

good girl, give it to me.

emilia

what will you do with ’t, that you have been so earnest

325to have me filch it?

emilia

and what are you going to do with it? why did you want it so much that you begged me to steal it?

iago

  why, what is that to you?

iago

what’s it to you?

emilia

if it be not for some purpose of import,

give ’t me again. poor lady, she’ll run mad

when she shall lack it.

emilia

if you don’t need it for some important reason, then give it back to me. poor lady, she’ll go crazy when she sees it’s missing.

iago

be not acknown on ’t,

330i have use for it. go, leave me.

iago

don’t admit to knowing anything about it. i need it. now go, leave me.

exit emilia

emilia exits.

i will in cassio’s lodging lose this napkin

and let him find it. trifles light as air

are to the jealous confirmations strong

as proofs of holy writ. this may do something.

335the moor already changes with my poison.

dangerous conceits are in their natures poisons

which at the first are scarce found to distaste,

but with a little act upon the blood

burn like the mines of sulfur.

i’ll leave this handkerchief at cassio’s house and let him find it.to a jealous man, a meaningless little thing like this looks like absolute proof. this handkerchief may be useful to me. the moor’s mind has already become infected with my poisonous suggestions. ideas can be like poisons. at first they hardly even taste bad, but once they get into your blood they start burning like hot lava.

enter othello

othello enters.

    i did say so.

340look, where he comes. not poppy nor mandragora

nor all the drowsy syrups of the world,

shall ever medicine thee to that sweet sleep

which thou owedst yesterday.

here he comes. no drugs or sleeping pills will ever give you the restful sleep that you had last night.

othello

    ha! ha! false to me?

othello

argh! she’s cheating on me?

iago

why, how now, general? no more of that.

iago

oh, general, , no more of that!

explanation: