I need this soon please its due in 2m

subject: why anyone can be a genius.

occasion: moving forward in life.

audience: average person

purpose: to push you further in life

speaker: many famous geniuses.

here is the poem:

here is thy, and here is thee, genius is for what he can be.

poem is a matter of rhyme, but like ben frank said, life is a matter of time.

we have great inventors such as thomas edison, who said, "genius is one percent inspiration and 99% perspiration." no, no perspiration as what comes from your skeleton.

we have great minds, from places of all kinds, such as yu kaw la chi tie, (now im switching languages because yu kaw was japanese.)

てちハラスイヒイス, てちラスイヒイス

てちのちみスイヒイス.

you are a genius, well not yet, but you are capable, and that is a bet.

he correct answer is choice c. promoters of ufc events were eager to work with state athletic commissions, without public pressure being a necessary inducement.

although there are different versions for the fairy tale little red riding hood,   as the one from grimm brothers and perrault, all of the versions show the huntsman as a man who is in perfect harmony with nature. the statement that best describe him, the huntsman, is that he is a true hero who inspires those around him due to his words and actions. the way he acts show internal reflections that are an example to follow by anybody who takes the time to analysing them. he shows altruism actions when he aside puts his job just to check the grandmother is well, by doing this he could notice at an early stage what has happened and could save her.

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