Which excerpt from The Call of the Wild best shows how the third-person-omniscient point of view helps readers understand the experiences of more than one character?

O "Sometimes he thought of Judge Miller's big house in the sun-kissed Santa Clara Valley, and of the cement
swimming-tank, and Ysabel, the Mexican hairless, and Toots, the Japanese pug

O "About his body there was a peculiar springiness, or resiliency, almost catlike, and a quick alertness as of one who
lived in perpetual fear of things seen and unseen."

O "With the last remnant of his strength he managed to stagger along behind till the train made another stop, when he
floundered past the sleds to his own, where he stood alongside Sol-leks. His driver lingered. ..."

O"There was no power of recuperation left. ... Every muscle, every fibre, every cell, was tired, dead tired. And there
was reason for it. In less than five months they had travelled twenty-five hundred miles

use the headings to create an overview of the main points.

the correct answer is dilapidated.

hope this (:

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