Read this excerpt from paragraph 10 of "letter from a birmingham jail" and answer the question.
“just as socrates felt that it was necessary to create a tension in the mind so that individuals could rise from
the bondage of myths and half truths to the unfettered realm of creative analysis and objective appraisal, so
must we see the need for nonviolent gadflies to create the kind of tension in society that will men rise
from the dark depths of prejudice and racism to the majestic heights of understanding and brotherhood.”

what is king's most likely reason for comparing socrates' ideas about tension in the mind with the tension of those who
were involved in nonviolent direct action in birmingham?

a) the uplifting goals king sought while writing in birmingham are as relevant today as they were when socrates wrote about in athens.
b) the strain among opposing groups in birmingham was similar to the creative blockades in ancient athens, to which socrates
referred.
c) the situation in birmingham required an appeal to city officials, which was similar to socrates' petition for action to the greek city-
states.
d) the actions of socrates served as an example for king of how harmony was eventually achieved among warring groups during
ancient times.

so whats the question?

what is the novel plz take a picture

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