In his closing argument during the o. j. simpson murder trial, defense attorney johnnie cochran said to the jury: "you are empowered to do justice. you are empowered to ensure that this great system of ours works. listen for a moment, will you, . one of my favorite people in history is the great frederick douglas. he said shortly after the slaves were freed, quote, "in a composite nation like ours as before the law, there should be no rich, no poor, no high, no low, no white, no black, but common country, common citizenship, equal rights and a common destiny." this marvelous statement was made more than 100 years ago. it's an ideal worth striving for and one that we still strive for. we haven't reached this goal yet, but certainly in this great country of ours, we're trying. with a jury such as this, we hope we can do that in this particular case." evaluate cochran's argument in terms of logos, pathos, and ethos. use evidence from the statement to support your answer. your response should be a minimum of five sentences.

the objective should be switched

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