3. A probably built a
is an internal representation of the world. For example, at one time, your mind
schema
that labeled every four-legged creature with a tail as a dog.

the answers are:

1. dolores driscoll - b. first person minor

dolores is a minor character who happens to be driving the bus at the time of the accident. she narrates picking up each of the children and her last memory is the children being thrown around the bus.

2. billy ansel - a. first person major

billy loses his twins in the accident. he tells his own story, how he witnessed the accident and how he tried to the rescuers. he is a major character, as he is at the center of the story.

3. mitchell stephens - c. first person observer

mitchell enters the story after the accident. he is a lawyer who learns about the accident based on other characters observations. though he tells the story from a first person perspective, he is just an observer.

as for matcthing the message or lesson posted with the person who said them:

1."obviously, you can't control everything, but you are obliged to take care of the few things you can. i'm an optimist basically who acts like a pessimist. on principle. just in case." - dolores driscoll

2. "i could no longer believe even in life. . for me now the only reality was death." - billy ansel

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