A crowd of parents and students cheered as Russ and Stevie raced down the field. Russ and Stevie were champions in the three-legged race. They had won the race easily for the past three years. No matter how much they loved to win, they loved racing together more. They were best friends. In the race, Russ and Stevie took one stride at a time. They moved smoothly and perfectly. While other teams were falling and tripping over their feet, Russ and Stevie glided past them.
Both Russ and Stevie eyed the finish line, which was only few yards away. Both of them could feel that they were near the end of the race. Suddenly, the rope that tied them together snapped. Russ and Stevie broke apart and rolled to opposite ends of the race lane. They looked at each other and watched another team win the race. Russ brushed himself off first and helped Stevie up. "We'll just have to beat them next year. I guess," said Russ. Stevie replied, "Of course." They were happy as long as they did it together.

Which idea is most important to include in a summary of this story?
A.
"Both Russ and Stevie eyed the finish line, which was only few yards away."
B.
"No matter how much they loved to race, they loved racing together more."
C.
"Russ and Stevie broke apart and rolled to opposite ends of the race lane."
D.
"A crowd of parents and students cheered as Russ and Stevie raced down the field."
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"it's more of an essay than story, but perhaps it is best described as a mood-piece: it uses a lot of musical imagery, not to mention sea imagery, religious imagery, and any other imagery that suits his purpose."

c is the final ! :

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

its probably a noun because a noun is a person place or thing