The Hungry Visitor Miguel herded the chickens into the coop and closed the gate as he did every night, only this time he noticed something odd. The chicken wire was bent in one place, and it looked like something had been digging beneath it. Instead of fixing the wire, Miguel decided to keep watch, so he hid in the shadow of the barn. There, he kept a careful lookout. Just as the sun was setting and the chickens had stopped their clucking for the night, he heard rustling. A moment later, a fox appeared and began to dig at the bent place in the fence. It wouldn’t be long before he got in and grabbed a chicken! Miguel was just thinking about how to get rid of the fox for good when the sound of the screen door slamming scared it off. He sighed and thought, I’ll get him next time.

Just then, Miguel’s mother walked up, and he told her what he’d seen. She smiled.

“Miguel,” she said, “as long as there have been chickens, foxes have tried to catch them. All we can do is keep our fences sturdy and shoo off the foxes when we see them. They have as much right to live as the chickens do.” She winked at her son and said, “That old sly fox will keep you guessing. I’ll guarantee it.”
Problem

What is hidden from the reader as a result of the story being told from the third-person limited point of view?

A) The words that Miguel’s mother says to him after she tells him what he has seen.

B) Miguel’s thoughts about how to get rid of the fox for good.

C) The actions of Miguel’s mother.

D) How Miguel’s mother feels about her son trying to protect the chickens

well for some you have to do on your own on a paper but yeah

thousands of people

explanation:

it was a big part of the story, making a lot of plot points happen?

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