Which narrative point of view is shown in the passage? Will could see the tightness around Gared's mouth, the barely suppressed anger in his eyes under the thick black hood of his cloak. Gared had spent forty years in the Night's
Watch, man and boy, and he was not accustomed to being made light of. Yet it was more
than that. Under the wounded pride, Will could sense something else in the older man. You could taste it; a nervous tension that came perilous close to fear.

first person
second person
Thing
third person

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

in this passage of moby-*ick, melville is developing the theme of obsession. the first part of the passage "sacrifice in the line of duty is noble" the author talks about nobles as a good character and also about sacrifice. if there is a duty and also a good cause it is good to fight for it and even if you die it would be admirable in our society. nobody can judge a person who sacrifices for doing what is correct.

in the second line "vengeance can become obsessive" is the perfect example of what happened to captain ahab. hunting and killing the white whale has taken over his life, he lost track of his own life in order to obtain his vengeance and that is not a good idea. vengeance is bad and it lead the character to suffer and pain even when they get vengeance, they feel empty they don't have a purpose anymore, their life lost the reason of existence.

in the third line the author talks about "commitment to a cause is admirable" this idea is similar to the first one, it talks about be the compromise to a good cause, it needs to be correct so it would be admirable. if you are committed to a bad cause as vengeance it is not admirable.

and finally in the fourth line "heartache is an unavoidable part of life" the author talks about death, we can't escape from death, it's our final destination in life and it's the end of everything. so we can obtain vengeance but if we die in the process it would be a shame.