Which is the main type of imagery used in "i am offering this poem"?
A) imagery related to sight
B) imagery related to touch
C) imagery related to smell
D) imagery related to sound

it creates a visual picture of the man.

it conveys what the scene sounds like.

it describes the actions of the boy.

it reveals the poet’s opinion of the characters.

it encourages readers to care for the characters.

the third paragraph is your answer,

"but, in a larger sense, we can not dedicate — we can not consecrate — we can not hallow — this ground. the brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. the world will little note, nor long remember what we say here, but it can never forget what they did here. it is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. it is rather for us to be here dedicated to the great task remaining before us— that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion—that we here highly resolve that these dead shall not have died in vain—that this nation, under god, shall have a new birth of freedom—and that government of the people, by the people, for the people, shall not perish from the earth. "

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