Pease help me 50 points Too Fast

Batnik’s father was a great inventor. He had created many things that made people’s lives easier. One of his inventions was a car that could operate on both water and land; this car was Batnik’s favorite. On water, it could float and travel at speeds up to 80 miles per hour. But on land, it could travel at speeds over 200 miles per hour. Batnik’s father had created this special car to help people from their island get to the mainland and other islands faster. When Batnik's father was a boy, the only method of travel from one island to another was by ferry, and the trip often took hours. People who were sick and needed medical help from the mainland would have to endure the long crossing or not go at all because of delays. Batnik’s father loved his homeland and wanted to ease the burden on the people, so he created the water car.

In the myth of “Daedalus and Icarus,” Icarus becomes enraptured by the ability to fly, defies his father's order to not fly too close to the sun, and suffers dreadful consequences as a result.

How is Batnik’s story in "Too Fast" like that of Icarus from the Greek myth?

A. Both stories are about boys who are great inventors.

B. Both stories are about boys who love to travel at great speeds.

C. Both stories are about sons who suffer terrible fates after not following instructions.

D. Both stories are about sons who improve their fathers’ inventions.

to inform the reader that the text will take a second look at the grimms’ original tales

" the king sits next to a crown , which symbolizes his power" is   correct   the king is standing on his feet wearing expensive clothing next to the crown.

"the king is wearing elaborate clothing." is correct. this is a symbol of wealth and   royal power.

the king is not dressed like a soldier but like a monarch.

"the king has a sword but he   sits next to a helmet" is correct.

the king is not sitting on the floor.

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