PART A: How does the horse feel about wearing riding gear in the passage from Black Beauty: The Autobiography of a Horse?

A The horse dislikes wearing the gear and will never get used to wearing it.
B The horse is displeased with wearing the gear but learns to accept it.
C The horse believes the saddle is the worst part of wearing the gear.
D The horse wishes to be like his mother and enjoy wearing the gear.

PART B: Which TWO statements support the correct answer to Part A?

A Being broken in means to carry a man, woman, or child on his back.
B A bit is placed in the horse’s mouth and is held by a strap over the head.
C The horse’s mother always wore a bit when she went out.
D The horse complained about how uncomfortable the bit felt in his mouth.
E In the story, the master rides the horse around a meadow.
F The horse enjoys the attention he receives from wearing his saddle.

A)

Explanation:

Black Beauty's used to wearing a halter and a headstall, but a bit and a bridle are a whole different matter. Having a bit in his mouth is a horrible experience for the young horse; it's not very nice having a piece of cold hard steel the width of a man's finger shoved into your mouth.

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