A body paragraph explaining the importance of being appreciative

there on the beach was a struggling turtle.   around its bright green neck was a loop of soda can rings.   in order to the planet, i have made a few changes to my life.   the first change is reducing the number of straws used. the second change was to recycle.   finally, i have worked hard to clean up litter.   it is important to clean our ocean.

you may not think straws have a large impact but they do.   imagine for every straw you sip out of a poor, , adorable turtle is being harmed.   one way i chipped in to is by using metal straws.   these straws are reusable and inexpensive.   another change is simply turning down straws.   by refusing a straw, i’m the turtles one drink at a time.  

however, the ocean just doesn't have turtles.   there are lots of creatures that live there and are harmed by all the litter.   to prevent litter from growing it’s important to recycle.   for me, i have started to buy most goods that are made out of recycled material.   pura vidas, chacos, purses, and too many other items to even count.   plus, when you buy those products they give money to charities.   not only am i the environment, but i’m also feeling better about my self.   finally, i have worked hard to clean up litter.   it is important to clean our ocean.

explanation:

the sentence that best describes the tone of the passage from the radio broadcast compared to the passage from the book is b. the radio broadcast has a more surprised tone.

consider the text evidence: in the passage from the book, the description is more matter-of-fact. it is simply describing the things resembling little grey snakes, but there is no urgency in the description. on the other hand, in the passage from the radio broadcast, there is definetely urgency (you can tell from the expression used, "good heavens", which clearly indicates surprise.)

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