3. Short-response prompt (15 points) Read the following passage from Jonathan Swift's essay "A Modest Proposal":
I can think of no one objection that will possibly be raised against this proposal, unless it . . . be . . . that the number of people will be thereby much lessened in the kingdom. This I freely own, and 'twas indeed one principal design in offering it to the world. I desire the reader will observe, that I calculate my remedy for this one individual Kingdom of Ireland, and for no other that ever was, is, or I think ever can be upon Earth. Therefore let no man talk to me of other expedients: Of taxing our absentees at five shillings a pound: Of using neither cloaths, nor household furniture, except what is of our own growth and manufacture: . . . Of curing the expensiveness of pride, vanity, idleness, and gaming in our women: Of introducing a vein of parsimony, prudence and temperance: Of learning to love our country . . . Of teaching landlords to have at least one degree of mercy towards their tenants. Lastly, of putting a spirit of honesty, industry, and skill into our shop-keepers . . . .
What point does Swift want to make in the passage, and does he use satire effectively to make that point? Write a short argument to answer these questions. Be careful to include a clear claim and to respond to at least one counterclaim. Develop your argument with specific details from the passage.

voracity is the noun corresponding to the adjective voracious, which means (1) eager to consume a great amount of food, or (2) marked by an insatiable appetite. veracity is far more common than the rare voracity, so the latter is sometimes used in place of the former.

macbeth is my cousin wowww

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