Read the passage.

excerpt from how to behave: a pocket manual of republican etiquette by samuel r. wells

good manners are not to be put on and off with one's best clothes. politeness is an article for every-day wear. if you don it only on special and rare occasions, it will be sure to sit awkwardly upon you. if you are not well behaved in your own family circle, you will hardly be truly so anywhere, however strictly you may conform to the observances of good breeding, when in society. the true gentleman or lady is a gentleman or lady at all times and in all places, at home as well as abroad, in the field, or workshop, or in the kitchen, as well as in the parlor. a snob is a snob always and everywhere.
what is the author's purpose in this passage?

to convince people to freely express their emotions

to persuade people to demonstrate good manners at all times

to encourage people to embrace the feeling of superiority over others

to remind people to avoid individuals who occasionally display bad manners

The answer is B. The author is persuading the reader to act politely all the time-- "The true gentleman or lady is a gentleman or lady at all times and in all places..."

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