Which is true of the rising action of a story?
a) the rising action reveals the conflict.
b)the rising action solves the conflict

in this passage from chapter 6 of "animal farm", by george orwell, what the author is ridiculing in this passage is the frivolity of some rules.

clover, the mare, believes she remembers that the fourth commandment forbade sleeping in beds because it was something that humans did. snowball, napoleon, and the pigs are brain-workers who look after the welfare of the farm. they are the obvious leaders because they are smart, and so they are entitled to eat the best food and sleep in beds. it is squealer, who says these lines making the difference between sleeping with sheets, what humans do, and sleeping in beds, what pigs do. the unwillingness to question authority makes the oppressed to obey without thinking.

its c

explanation:

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