Which two sets of lines from the Doctor's speech in the play Everyman show that Everyman has to make his last journey alone? Ye hearers, take it of worth, old and young,
And forsake Pride, for he deceiveth you in the end.
And remember Beauty, Five-Wits, Strength, and Discretion
They all at the last do Everyman forsake,
Save his Good Deeds there doth he take--
But beware, for and they be small,…
For after death amends may no man make,
For then mercy and pity doth him forsake.
If his reckoning be not clear when he do come,
God will say, "Ite maledicti in ignem eternum!"

from the political point of view it could be said that the candidate   is an effective speaker because she takes a strong position on the issue. it is an open discussion but probably she is making a presentation and can choose which subjects she wants to address. she is very likely to attain her aim which is to convince voters to accept her proposal.

lawrence   quinn is the main antagonist of the 2003 live action film adaptation of the cat in the hat. he is the waldens' pompous neighbor whose goal is to marry joan walden for her wealth and get rid of her son conrad by sending him to military school.

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