Which lines are enjambed in this excerpt from john milton’s paradise lost?
i may assert th' eternal providence,
and justifie the wayes of god to men.
say first, for heav'n hides nothing from thy view
nor the deep tract of hell, say first what cause
mov'd our grand parents in that happy state,
favour'd of heav'n so highly, to fall off
from their creator, and transgress his will
for one restraint, lords of the world besides?

i think that will have something to do with the mississippi river but google will know the full answer for sure

no it is not a sin or wrong to be gay. you can be whoever you want just dont hurt anybody or kill anybody. god gave us freewill so we could do whatever we want and be whoever they want to be. all those other people who think gay is bad they are wrong, they can love whoever they want longs they don't hurt or kill each other.

being gay is not a sin or wrong. if you are gay then you have our support and love. cause lets face it, love is love and no bully will ever stop us from being who we are. we are human and we can be different. being different is what makes us humans.

its okay to be gay everyone.

hope this : )

have a great day

one of the central themes of edward abbey's work has been his staunch opposition to the glen canyon dam on the colorado river that created lake powell, destroying stunning scenery and wildlife habitat, endangering many rare species of fish and animals, and also irreparably destroying many important archaeological sites which provided information about the early inhabitants of the united states.

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