Read the excerpt from Julius Caesar, act 3, scene 2. [BRUTUS.] If then that friend demand
why Brutus rose against Caesar, this is my
not that I loved Caesar less, but that I loved
Rome more. Had you rather Caesar were living, and
die all slaves, than that Caesar were dead, to live
all free men? As Caesar loved me, I weep for him.
As he was fortunate, I rejoice at it. As he was
valiant, I honour him. But as he was ambitious, I
slew him.

Which paraphrase of the passage is the best?

Brutus explains that if people ask why he killed Caesar, he will tell them that it is not because he did not love Caesar, but because he loved Rome more. He asks if the people would rather have Caesar alive, and die as slaves, or sadly have Caesar dead be free. He says he is sad because he and Caesar were friends. He honors Caesar’s bravery, but Caesar was too ambitious, so because of that dangerous ambition, Brutus had to take part in killing him.
Brutus asks the people of Rome if they would rather have Caesar alive and they all be slaves, or have Caesar dead so they can live freely.
Brutus explains that he loved Caesar but loves Rome more.
Brutus clarifies that he rose against Caesar not because he did not love Caesar, but because he loved Rome more. He asks, “Had you rather Caesar were living, and die all slaves, than that Caesar were dead, to live all free men?”

Option A

Explanation:

Option A,

Brutus explains that if people ask why he killed Caesar, he will tell them that it is not because he did not love Caesar, but because he loved Rome more. He asks if the people would rather have Caesar alive, and die as slaves, or sadly have Caesar dead be free. He says he is sad because he and Caesar were friends. He honors Caesar’s bravery, but Caesar was too ambitious, so because of that dangerous ambition, Brutus had to take part in killing him.

circle of life

today people might say life is like a movie. good or evil might be evil. babies come to the world connect with their inner self, their need, the body language of the people around them that's the ways the lear to live. but as years go through feelings, sensations, needs are left behind and now is the time of technology, to each other is old-fashioned, looking into somebodies eyes, get a real connection, writing down memories a dairy.

we need to back to real connections, caring about people around you and spending quality time with them. we need to find back the way to connect with ourselfs, let out our emotions, sensations, our real tastes without caring about what other might think/say about,but especially without judging others way of living, feeling and loving.  

as we grow we lose our ties with our real selves, and we get too much involved with media, work, politics. we become so much troubled that our energy vanishes away and we only have the disposition to sit in front of the tv on turn off ourselves.   that's unbearable, we need to find out the way not to lose ourselves on the road to adulthood. but especially we have to find a way to keep children on the track. it would be easier for them when they grow ´s a lot of people on that track you just need to keep your eyes wide open and you´ll see it.

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