Read the following excerpt from "Woman Who Helped Hide Anne Frank Dies at 100" by Teri Schultz. SCHULTZ: But Gies clearly was very special, even when someone still unknown betrayed those she called the hiders and they were taken away at gunpoint to death camps. Gies was not intimidated. She sneaked back into the secret hideaway to try to preserve any belongings of the Franks that hadn't been destroyed or taken. And there she found what would eventually become a treasure of the entire world.

What is the purpose of this excerpt?

to inform the audience of Gies’s remarkable acts
to persuade the audience to use Gies as a role model
to entertain the audience with Gies’s heroic acts
to teach the audience what a true hero really is

A: To inform the audience of Gies' remarkable acts

Explanation:

it means that people are present over there who cares for us who loves us and we are never alone there is always a supporting hands behind us so never lose your hope and confidently move ahead to get success in your life.if you make mistakes there are people to make it correct

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