Ead the excerpt from Abraham Lincoln’s Gettysburg Address. 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 here 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.

What is Lincoln’s purpose in the excerpt?

to thank the families of soldiers for their support
to describe the varied lives of fallen soldiers
to encourage young citizens to enlist in the military
to rally emotional support for a unified country

this is the answer , p = 1 + (1/10)x

step-by-step explanation:

we have,

at sea level pressure is 1 atmosphere (i.e at x =0, p0=1 atmosphere)

at depth 23 meters , pressure = 3.3 atmosphere

since the pressure increases at constant rate as the depth increases, so we can write a relation as:

p =p0 +   kx   , where p is the pressure  , p0 is the initial pressure, x is the depth and k is constant rate of increasing.

to find constant rate k, plug p = 3.3 , p0 = 1 and x= 23 meters

we get,

  3.3 = 1 + k * 23

k = 2.3 / 23   = 1/10

so we can write the function formula as:   p = 1 + (1/10)x

the answer is subjective. i personally agree with the first answer for this question.

if one isn't strictly talking about objects then the correct answer would be 'my eyes' since according to this riddle i am asleep and in order to answer/open the door i need to open my eyes first of all.

however, if one is specifically looking for an object, then the first thing i would open would be the door

hope this !

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