Your father who is working in a foreign country has written to ask
you
Of your choice of course in the university as you
are about to
graduate from Secondary school Write a reply
to the letter given reasons for the choice you have made.

glamis thou art, and cawdor; and shalt be what thou art promis'd; yet do i fear thy nature; it is too full o' the milk of human kindness to catch the nearest way: thou wouldst be great; art not without ambition; but without the illness should attend it. what thou wouldst highly, that wouldst thou holily; wouldst not play false, and yet wouldst wrongly win: thou'dst have, great glamis, that which cries, "thus thou must do, if thou have it: and that which rather thou dost fear to do than wishest should be undone." hie thee hither, that i may pour my spirits in thine ear; and chastise with the valor of my tongue all that impedes thee from the golden round, which fate and metaphysical aid doth seem to have thee crown'd withal.  

he lacks ambition.  

he is hesitant.  

he lacks courage.  

he has moral scruples.

this answer to this question is c. allegory

why?

stories with allegories have a hidden symbolic meaning with a theme. the hidden meaning can be political, or other real life problems.

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