Born in an irish community in the bronx, new york, eileen ivers first picked up a bow at the age of 8. she quickly exhibited a
mastery of the instrument and excelled at the all-ireland championships on her way to becoming known as the world's pre-eminent
celtic fiddler.

which of these presents a paraphrase suitable for a first-or second-grade student?

a. born in an irish community in the bronx, new york, eileen ivers first started to play the fiddle at the age of 8. she excelled
at it and became a pre-eminent celtic fiddler.

b. eileen ivers was born in new york city. eileen ivers is now the world's most famous fiddle player.

c. eileen ivers is from new york city. she started playing the fiddle at age 8. a fiddle is an instrument shaped like a small
guitar. it's held under the chin and played with a stringed stick called a bow. she is the world's most famous fiddle player.

d. master fiddler eileen ivers is the world's pre-eminent celtic fiddler.

what are you asking i dodnt know

where is the sentence at?

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