Elements of Story 7

Which choice would not be an element of a story's setting?

100 years ago. The Fourth of July. Dialogue. X A church basement

Which of the following statements is NOT true?

A character may also be the narrator or speaker. A character must always be a human being. X A character is brought to life through characterization. A character is a figure in a work of literature.

The characters in this passage interact with each other. What does their interaction reveal about their relationship? Read this excerpt from The Adventures of Tom Sawyer. "TOM!" No answer. "TOM!" No answer. "What's gone with that boy, I wonder? You TOM!" No answer. The old lady pulled her spectacles down and looked over them about the room; then she put them up and looked out under them. She seldom or never looked through them for so small a thing as a boy; they were her state pair, the pride of her heart, and were built for "style," not service—she could have seen through a pair of stove-lids just as well. She looked perplexed for a moment, and then said, not fiercely, but still loud enough for the furniture to hear: "Well, I lay if I get hold of you I'll—"

Aunt Polly has a soft spot for Tom despite his mischievousness. X Aunt Polly's harsh treatment drives Tom to misbehave. Tom is grateful Aunt Polly took him in after his parents' deaths. Tom knows that Aunt Polly's threats are without substance.

Read the excerpt from the novel The Call of the Wild. At the end of this excerpt, the author states that Buck "has saved himself by not becoming a mere pampered house-dog." How has Buck "saved himself" from his environment? excerpt from The Call of the Wild by Jack London Buck lived at a big house in the sun-kissed Santa Clara Valley. Judge Miller's place, it was called. It stood back from the road, half hidden among the trees, through which glimpses could be caught of the wide cool veranda that ran around its four sides. The house was approached by gravelled driveways which wound about through wide-spreading lawns and under the interlacing boughs of tall poplars. At the rear things were on even a more spacious scale than at the front. There were great stables, where a dozen grooms and boys held forth, rows of vine-clad servants' cottages, an endless and orderly array of outhouses, long grape arbors, green pastures, orchards, and berry patches. Then there was the pumping plant for the artesian well, and the big cement tank where Judge Miller's boys took their morning plunge and kept cool in the hot afternoon. And over this great demesne Buck ruled. Here he was born, and here he had lived the four years of his life. It was true, there were other dogs, There could not but be other dogs on so vast a place, but they did not count. They came and went, resided in the populous kennels, or lived obscurely in the recesses of the house after the fashion of Toots, the Japanese pug, or Ysabel, the Mexican hairless,—strange creatures that rarely put nose out of doors or set foot to ground. On the other hand, there were the fox terriers, a score of them at least, who yelped fearful promises at Toots and Ysabel looking out of the windows at them and protected by a legion of housemaids armed with brooms and mops. But Buck was neither house-dog nor kennel-dog. The whole realm was his. He plunged into the swimming tank or went hunting with the Judge's sons; he escorted Mollie and Alice, the Judge's daughters, on long twilight or early morning rambles; on wintry nights he lay at the Judge's feet before the roaring library fire; he carried the Judge's grandsons on his back, or rolled them in the grass, and guarded their footsteps through wild adventures down to the fountain in the stable yard, and even beyond, where the paddocks were, and the berry patches. Among the terriers he stalked imperiously, and Toots and Ysabel he utterly ignored, for he was king,—king over all creeping, crawling, flying things of Judge Miller's place, humans included. His father, Elmo, a huge St. Bernard, had been the Judge's inseparable companion, and Buck bid fair to follow in the way of his father. He was not so large,—he weighed only one hundred and forty pounds,—for his mother, Shep, had been a Scotch shepherd dog. Nevertheless, one hundred and forty pounds, to which was added the dignity that comes of good living and universal respect, enabled him to carry himself in right royal fashion. During the four years since his puppyhood he had lived the life of a sated aristocrat; he had a fine pride in himself, was even a trifle egotistical, as country gentlemen sometimes become because of their insular situation. But he had saved himself by not becoming a mere pampered house-dog. Hunting and kindred outdoor delights had kept down the fat and hardened his muscles; and to him, as to the cold-tubbing races, the love of water had been a tonic and a health preserver. --The Call of the Wild is in the public domain.

Buck shows the house dogs and the kennel dogs how strong and free he is when he is outdoors. Buck still feels the instinct to hunt and swim even though his civilized surroundings do not require him to. X Buck exercises when he is outdoors so that he has strong muscles to help him guard his family. Buck hunts and swims to become bigger like his father, Elmo, so that the judge is reminded of Elmo.

What is the difference between direct and indirect characterization?

Direct characterization tells the reader something about a character while indirect characterization shows the reader something about a character. X Direct characterization shows the reader something about a character while indirect characterization tells the reader something about a character. Direct characterization refers to a character by name while indirect characterization uses pronouns such as "he" or "she" to refer to a character. Direct characterization is mainly used by writers of novels and stories while indirect characterization is mainly used by writers of poetry.

Read the excerpt from the play A Doll's House. What do Helmer's first four lines of dialogue in this scene tell about how he feels toward his wife, Nora? In this scene, a husband Torvald Helmer and his wife Nora Helmer have a conversation. ACT 1 (SCENE. — A room furnished comfortably and tastefully, but not extravagantly. At the back, a door to the right leads to the entrance-hall, another to the left leads to Helmer's study. Between the doors stands a piano. In the middle of the left-hand wall is a door, and beyond it a window. Near the window are a round table, armchairs and a small sofa. In the right-hand wall, at the farther end, another door; and on the same side, nearer the footlights, a stove, two easy chairs and a rocking-chair; between the stove and the door, a small table. Engravings on the wall; a cabinet with china and other small objects; a small book-case with well-bound books. The floors are carpeted, and a fire burns in the stove. It is winter. A bell rings in the hall; shortly afterwards the door is heard to open. Enter NORA, humming a tune and in high spirits. She is in out-door dress and carries a number of parcels; these she lays on the table to the right. She leaves the outer door open after her, and through it is seen a PORTER who is carrying a Christmas Tree and a basket, which he gives to the MAID who has opened the door.) NORA. Hide the Christmas Tree carefully, Helen. Be sure the children do not see it till this evening, when it is dressed. (To the PORTER, taking out her purse.) How much? PORTER. Sixpence. NORA. There is a shilling. No, keep the change. (The PORTER thanks her, and goes out. NORA shuts the door. She is laughing to herself, as she takes off her hat and coat. She takes a packet of macaroons from her pocket and eats one or two; then goes cautiously to her husband's door and listens.) Yes, he is in. (Still humming, she goes to the table on the right.) HELMER (calls out from his room). Is that my little lark twittering out there? NORA (busy opening some of the parcels). Yes, it is! HELMER. Is it my little squirrel bustling about? NORA. Yes! HELMER. When did my squirrel come home? NORA. Just now. (Puts the bag of macaroons into her pocket and wipes her mouth.) Come in here, Torvald, and see what I have bought. HELMER. Don't disturb me. (A little later, he opens the door and looks into the room, pen in hand.) Bought, did you say? All these things? Has my little spendthrift been wasting money again? NORA. Yes, but, Torvald, this year we really can let ourselves go a little. This is the first Christmas that we have not needed to economize. HELMER. Still, you know, we can't spend money recklessly. NORA. Yes, Torvald, we may be a wee bit more reckless now, mayn't we? Just a tiny wee bit! You are going to have a big salary and earn lots and lots of money. HELMER. Yes, after the New Year; but then it will be a whole quarter before the salary is due. NORA. Pooh! we can borrow till then. HELMER. Nora! (Goes up to her and takes her playfully by the ear.) The same little featherhead! Suppose, now, that I borrowed fifty pounds today, and you spent it all in the Christmas week, and then on New Year's Eve a slate fell on my head and killed me, and — NORA (putting her hands over his mouth). Oh! don't say such horrid things. HELMER. Still, suppose that happened — what then? NORA. If that were to happen, I don't suppose I should care whether I owed money or not. HELMER. Yes, but what about the people who had lent it? NORA. They? Who would bother about them? I should not know who they were. HELMER. That is like a woman! But seriously, Nora, you know what I think about that. No debt, no borrowing. There can be no freedom or beauty about a home life that depends on borrowing and debt. We two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. NORA (moving towards the stove). As you please, Torvald.

He is amazed by his wife. He feels respectful toward his wife. He feels superior to his wife. X He feels afraid of his wife.

Read the excerpt from the novel The Call of the Wild. How does the imagery of Buck's interaction with the judge and his family help to give shape to Buck's character? excerpt from The Call of the Wild by Jack London Buck lived at a big house in the sun-kissed Santa Clara Valley. Judge Miller's place, it was called. It stood back from the road, half hidden among the trees, through which glimpses could be caught of the wide cool veranda that ran around its four sides. The house was approached by gravelled driveways which wound about through wide-spreading lawns and under the interlacing boughs of tall poplars. At the rear things were on even a more spacious scale than at the front. There were great stables, where a dozen grooms and boys held forth, rows of vine-clad servants' cottages, an endless and orderly array of outhouses, long grape arbors, green pastures, orchards, and berry patches. Then there was the pumping plant for the artesian well, and the big cement tank where Judge Miller's boys took their morning plunge and kept cool in the hot afternoon. And over this great demesne Buck ruled. Here he was born, and here he had lived the four years of his life. It was true, there were other dogs, There could not but be other dogs on so vast a place, but they did not count. They came and went, resided in the populous kennels, or lived obscurely in the recesses of the house after the fashion of Toots, the Japanese pug, or Ysabel, the Mexican hairless,—strange creatures that rarely put nose out of doors or set foot to ground. On the other hand, there were the fox terriers, a score of them at least, who yelped fearful promises at Toots and Ysabel looking out of the windows at them and protected by a legion of housemaids armed with brooms and mops. But Buck was neither house-dog nor kennel-dog. The whole realm was his. He plunged into the swimming tank or went hunting with the Judge's sons; he escorted Mollie and Alice, the Judge's daughters, on long twilight or early morning rambles; on wintry nights he lay at the Judge's feet before the roaring library fire; he carried the Judge's grandsons on his back, or rolled them in the grass, and guarded their footsteps through wild adventures down to the fountain in the stable yard, and even beyond, where the paddocks were, and the berry patches. Among the terriers he stalked imperiously, and Toots and Ysabel he utterly ignored, for he was king,—king over all creeping, crawling, flying things of Judge Miller's place, humans included. His father, Elmo, a huge St. Bernard, had been the Judge's inseparable companion, and Buck bid fair to follow in the way of his father. He was not so large,—he weighed only one hundred and forty pounds,—for his mother, Shep, had been a Scotch shepherd dog. Nevertheless, one hundred and forty pounds, to which was added the dignity that comes of good living and universal respect, enabled him to carry himself in right royal fashion. During the four years since his puppyhood he had lived the life of a sated aristocrat; he had a fine pride in himself, was even a trifle egotistical, as country gentlemen sometimes become because of their insular situation. But he had saved himself by not becoming a mere pampered house-dog. Hunting and kindred outdoor delights had kept down the fat and hardened his muscles; and to him, as to the cold-tubbing races, the love of water had been a tonic and a health preserver. --The Call of the Wild is in the public domain.

It suggests that Buck believes the judge wants him to keep both the indoor and the outdoor dogs in line. It suggests that Buck views himself as the most important animal at the place and a member of the family. X It suggests that Buck has learned important survival lessons during his first four years of life. It suggests that as a member of the judge's family, Buck feels that he has no real responsibilities.

Which part of a story occurs after its climax?

Its conflict. Its resolution. X Its setting. Its plot.

Which of the following sentences is an example of indirect characterization?

John cares deeply about his friends. John is the nicest boy at his school. John loves to play videogames. John studies every day after school. X

Read the excerpt from the novel To Kill a Mockingbird. The passage includes the detail "Men's stiff collars wilted by nine in the morning." How does this information connect to the setting, providing indirect characterization? from To Kill a Mockingbird by Harper Lee Maycomb was an old town, but it was a tired old town when I first knew it. In rainy weather the streets turned to red slop; grass grew on the sidewalks, the courthouse sagged in the square. Somehow, it was hotter then: a black dog suffered on a summer's day; bony mules hitched to Hoover carts flicked flies in the sweltering shade of the live oaks on the square. Men's stiff collars wilted by nine in the morning. Ladies bathed before noon, after their three-o'clock naps, and by nightfall were like soft teacakes with frostings of sweat and sweet talcum. People moved slowly then. They ambled across the square, shuffled in and out of the stores around it, took their time about everything. A day was twenty-four hours long but seemed longer. There was no hurry, for there was nowhere to go, nothing to buy and no money to buy it with, nothing to see outside the boundaries of Maycomb County. But it was a time of vague optimism for some of the people: Maycomb County had recently been told that it had nothing to fear but fear itself. We lived on the main residential street in town—Atticus, Jem and I, plus Calpurnia our cook. Jem and I found our father satisfactory: he played with us, read to us, and treated us with courteous detachment.

Just as the town is old and hasn't been updated, the men follow old customs with their stiff, formal dress, even though the weather is very hot. X The setting suggests an exciting and vibrant community, and the formal dress shows the town's success. The setting describes a fancy town with well-kept sidewalks, a courthouse, and a square, so the men are dressed appropriately in formal suits to fit in. The men are impractical in wearing collars on hot days in the same way that they are impractical in not maintaining the town's buildings and streets.

Read the excerpt from A Doll's House by Henrik Ibsen. In this scene, a husband Torvald Helmer and his wife have a conversation. ACT 1 (SCENE. — A room furnished comfortably and tastefully, but not extravagantly. At the back, a door to the right leads to the entrance-hall, another to the left leads to Helmer's study. Between the doors stands a piano. In the middle of the left-hand wall is a door, and beyond it a window. Near the window are a round table, armchairs and a small sofa. In the right-hand wall, at the farther end, another door; and on the same side, nearer the footlights, a stove, two easy chairs and a rocking-chair; between the stove and the door, a small table. Engravings on the wall; a cabinet with china and other small objects; a small book-case with well-bound books. The floors are carpeted, and a fire burns in the stove. It is winter. A bell rings in the hall; shortly afterwards the door is heard to open. Enter NORA, humming a tune and in high spirits. She is in out-door dress and carries a number of parcels; these she lays on the table to the right. She leaves the outer door open after her, and through it is seen a PORTER who is carrying a Christmas Tree and a basket, which he gives to the MAID who has opened the door.) NORA. Hide the Christmas Tree carefully, Helen. Be sure the children do not see it till this evening, when it is dressed. (To the PORTER, taking out her purse.) How much? PORTER. Sixpence. NORA. There is a shilling. No, keep the change. (The PORTER thanks her, and goes out. NORA shuts the door. She is laughing to herself, as she takes off her hat and coat. She takes a packet of macaroons from her pocket and eats one or two; then goes cautiously to her husband's door and listens.) Yes, he is in. (Still humming, she goes to the table on the right.) HELMER (calls out from his room). Is that my little lark twittering out there? NORA (busy opening some of the parcels). Yes, it is! HELMER. Is it my little squirrel bustling about? NORA. Yes! HELMER. When did my squirrel come home? NORA. Just now. (Puts the bag of macaroons into her pocket and wipes her mouth.) Come in here, Torvald, and see what I have bought. HELMER. Don't disturb me. (A little later, he opens the door and looks into the room, pen in hand.) Bought, did you say? All these things? Has my little spendthrift been wasting money again? NORA. Yes, but, Torvald, this year we really can let ourselves go a little. This is the first Christmas that we have not needed to economize. HELMER. Still, you know, we can't spend money recklessly. NORA. Yes, Torvald, we may be a wee bit more reckless now, mayn't we? Just a tiny wee bit! You are going to have a big salary and earn lots and lots of money. HELMER. Yes, after the New Year; but then it will be a whole quarter before the salary is due. NORA. Pooh! we can borrow till then. HELMER. Nora! (Goes up to her and takes her playfully by the ear.) The same little featherhead! Suppose, now, that I borrowed fifty pounds today, and you spent it all in the Christmas week, and then on New Year's Eve a slate fell on my head and killed me, and — NORA (putting her hands over his mouth). Oh! don't say such horrid things. HELMER. Still, suppose that happened — what then? NORA. If that were to happen, I don't suppose I should care whether I owed money or not. HELMER. Yes, but what about the people who had lent it? NORA. They? Who would bother about them? I should not know who they were. HELMER. That is like a woman! But seriously, Nora, you know what I think about that. No debt, no borrowing. There can be no freedom or beauty about a home life that depends on borrowing and debt. We two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. NORA (moving towards the stove). As you please, Torvald. The characters in this passage interact with each other. What does their interaction reveal about their relationship?

Nora is more in love with Helmer than he is with her. Helmer is the authority figure and Nora obeys him. X Nora listens to Helmer's opinion but makes her own decisions. Helmer and Nora do not respect one another.

Read the excerpt from the play A Doll's House. What do the stage directions and dialogue for Nora at the beginning reveal about her state of mind? excerpt from A Doll's House by Henrik Ibsen. In this scene, a husband Torvald Helmer and his wife Nora Helmer have a conversation. ACT 1 (SCENE. — A room furnished comfortably and tastefully, but not extravagantly. At the back, a door to the right leads to the entrance-hall, another to the left leads to Helmer's study. Between the doors stands a piano. In the middle of the left-hand wall is a door, and beyond it a window. Near the window are a round table, armchairs and a small sofa. In the right-hand wall, at the farther end, another door; and on the same side, nearer the footlights, a stove, two easy chairs and a rocking-chair; between the stove and the door, a small table. Engravings on the wall; a cabinet with china and other small objects; a small book-case with well-bound books. The floors are carpeted, and a fire burns in the stove. It is winter. A bell rings in the hall; shortly afterwards the door is heard to open. Enter NORA, humming a tune and in high spirits. She is in out-door dress and carries a number of parcels; these she lays on the table to the right. She leaves the outer door open after her, and through it is seen a PORTER who is carrying a Christmas Tree and a basket, which he gives to the MAID who has opened the door.) NORA. Hide the Christmas Tree carefully, Helen. Be sure the children do not see it till this evening, when it is dressed. (To the PORTER, taking out her purse.) How much? PORTER. Sixpence. NORA. There is a shilling. No, keep the change. (The PORTER thanks her, and goes out. NORA shuts the door. She is laughing to herself, as she takes off her hat and coat. She takes a packet of macaroons from her pocket and eats one or two; then goes cautiously to her husband's door and listens.) Yes, he is in. (Still humming, she goes to the table on the right.) HELMER (calls out from his room). Is that my little lark twittering out there? NORA (busy opening some of the parcels). Yes, it is! HELMER. Is it my little squirrel bustling about? NORA. Yes! HELMER. When did my squirrel come home? NORA. Just now. (Puts the bag of macaroons into her pocket and wipes her mouth.) Come in here, Torvald, and see what I have bought. HELMER. Don't disturb me. (A little later, he opens the door and looks into the room, pen in hand.) Bought, did you say? All these things? Has my little spendthrift been wasting money again? NORA. Yes, but, Torvald, this year we really can let ourselves go a little. This is the first Christmas that we have not needed to economize. HELMER. Still, you know, we can't spend money recklessly. NORA. Yes, Torvald, we may be a wee bit more reckless now, mayn't we? Just a tiny wee bit! You are going to have a big salary and earn lots and lots of money. HELMER. Yes, after the New Year; but then it will be a whole quarter before the salary is due. NORA. Pooh! we can borrow till then. HELMER. Nora! (Goes up to her and takes her playfully by the ear.) The same little featherhead! Suppose, now, that I borrowed fifty pounds today, and you spent it all in the Christmas week, and then on New Year's Eve a slate fell on my head and killed me, and — NORA (putting her hands over his mouth). Oh! don't say such horrid things. HELMER. Still, suppose that happened — what then? NORA. If that were to happen, I don't suppose I should care whether I owed money or not. HELMER. Yes, but what about the people who had lent it? NORA. They? Who would bother about them? I should not know who they were. HELMER. That is like a woman! But seriously, Nora, you know what I think about that. No debt, no borrowing. There can be no freedom or beauty about a home life that depends on borrowing and debt. We two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. NORA (moving towards the stove). As you please, Torvald. --A Doll's House is in the public domain.

She is happy but feeling guarded. She is happy while feeling dull. She is happy and feeling generous. X She is happy though very tired.

Read the excerpt from the novel To Kill a Mocking Bird. What does the narrator reveal about herself through the town's setting? from To Kill a Mockingbird by Harper Lee Maycomb was an old town, but it was a tired old town when I first knew it. In rainy weather the streets turned to red slop; grass grew on the sidewalks, the courthouse sagged in the square. Somehow, it was hotter then: a black dog suffered on a summer's day; bony mules hitched to Hoover carts flicked flies in the sweltering shade of the live oaks on the square. Men's stiff collars wilted by nine in the morning. Ladies bathed before noon, after their three-o'clock naps, and by nightfall were like soft teacakes with frostings of sweat and sweet talcum. People moved slowly then. They ambled across the square, shuffled in and out of the stores around it, took their time about everything. A day was twenty-four hours long but seemed longer. There was no hurry, for there was nowhere to go, nothing to buy and no money to buy it with, nothing to see outside the boundaries of Maycomb County. But it was a time of vague optimism for some of the people: Maycomb County had recently been told that it had nothing to fear but fear itself. We lived on the main residential street in town—Atticus, Jem and I, plus Calpurnia our cook. Jem and I found our father satisfactory: he played with us, read to us, and treated us with courteous detachment.

She shows that she grew up in a poor family because their town was in poor condition and even its animals were skinny and neglected. The narrator suggests that though she grew up in a town that moved at a slow pace, she found adventurous things to do with her family. The narrator reveals that she misses the old town of her youth that no longer exists except in her fond memories of a happy childhood. She describes the town in the past, so she is older now, looking back on the place of her youth with the viewpoint of an adult who sees its clearly. X

Which of these is an element of a story's exposition?

The action that occurs before the climax. The rising action as tension increases. Background information about the characters. X The chapter that reveals the central conflict.

What is a story's conflict?

The falling action after the climax of a story. The resolution of the action at the end of a story. The turning point of a story when a change occurs. The main problem faced by a story's characters. X

What is a story's climax?

The motivation of a story's characters. The author's purpose of a story. The problem between a story's main characters. The part of that story where its conflict reaches its peak.X

Which of the following statements is true?

The narrator of a story is always the author of the story. The narrator of a story is always straightforward and direct. The narrator of a story can also be a character in the story. X The narrator of a story cannot be a character in the story.

What is a story's plot?

The sequence of events that make up that story. X The part of a story when its conflict is resolved. A description of a story's main characters. The problems between a story's characters.

Read the excerpt from the novel To Kill a Mocking Bird. How does the setting shape the townspeople described in this passage? from To Kill a Mockingbird by Harper Lee Maycomb was an old town, but it was a tired old town when I first knew it. In rainy weather the streets turned to red slop; grass grew on the sidewalks, the courthouse sagged in the square. Somehow, it was hotter then: a black dog suffered on a summer's day; bony mules hitched to Hoover carts flicked flies in the sweltering shade of the live oaks on the square. Men's stiff collars wilted by nine in the morning. Ladies bathed before noon, after their three-o'clock naps, and by nightfall were like soft teacakes with frostings of sweat and sweet talcum. People moved slowly then. They ambled across the square, shuffled in and out of the stores around it, took their time about everything. A day was twenty-four hours long but seemed longer. There was no hurry, for there was nowhere to go, nothing to buy and no money to buy it with, nothing to see outside the boundaries of Maycomb County. But it was a time of vague optimism for some of the people: Maycomb County had recently been told that it had nothing to fear but fear itself. We lived on the main residential street in town—Atticus, Jem and I, plus Calpurnia our cook. Jem and I found our father satisfactory: he played with us, read to us, and treated us with courteous detachment.

The town needs a lot of repairs, so the townspeople are always busy. The townspeople are optimistic because their town has survived. The town is so old that townspeople go elsewhere for shopping. The heat and age of the town have slowed the townspeople down. X

Read the excerpt from the novel The Call of the Wild. What does the description of the setting suggest about the characters of Buck, his owner, Judge Miller, and the judge's sons? excerpt from The Call of the Wild by Jack London Buck lived at a big house in the sun-kissed Santa Clara Valley. Judge Miller's place, it was called. It stood back from the road, half hidden among the trees, through which glimpses could be caught of the wide cool veranda that ran around its four sides. The house was approached by gravelled driveways which wound about through wide-spreading lawns and under the interlacing boughs of tall poplars. At the rear things were on even a more spacious scale than at the front. There were great stables, where a dozen grooms and boys held forth, rows of vine-clad servants' cottages, an endless and orderly array of outhouses, long grape arbors, green pastures, orchards, and berry patches. Then there was the pumping plant for the artesian well, and the big cement tank where Judge Miller's boys took their morning plunge and kept cool in the hot afternoon. And over this great demesne Buck ruled. Here he was born, and here he had lived the four years of his life. It was true, there were other dogs, There could not but be other dogs on so vast a place, but they did not count. They came and went, resided in the populous kennels, or lived obscurely in the recesses of the house after the fashion of Toots, the Japanese pug, or Ysabel, the Mexican hairless,—strange creatures that rarely put nose out of doors or set foot to ground. On the other hand, there were the fox terriers, a score of them at least, who yelped fearful promises at Toots and Ysabel looking out of the windows at them and protected by a legion of housemaids armed with brooms and mops. But Buck was neither house-dog nor kennel-dog. The whole realm was his. He plunged into the swimming tank or went hunting with the Judge's sons; he escorted Mollie and Alice, the Judge's daughters, on long twilight or early morning rambles; on wintry nights he lay at the Judge's feet before the roaring library fire; he carried the Judge's grandsons on his back, or rolled them in the grass, and guarded their footsteps through wild adventures down to the fountain in the stable yard, and even beyond, where the paddocks were, and the berry patches. Among the terriers he stalked imperiously, and Toots and Ysabel he utterly ignored, for he was king,—king over all creeping, crawling, flying things of Judge Miller's place, humans included. His father, Elmo, a huge St. Bernard, had been the Judge's inseparable companion, and Buck bid fair to follow in the way of his father. He was not so large,—he weighed only one hundred and forty pounds,—for his mother, Shep, had been a Scotch shepherd dog. Nevertheless, one hundred and forty pounds, to which was added the dignity that comes of good living and universal respect, enabled him to carry himself in right royal fashion. During the four years since his puppyhood he had lived the life of a sated aristocrat; he had a fine pride in himself, was even a trifle egotistical, as country gentlemen sometimes become because of their insular situation. But he had saved himself by not becoming a mere pampered house-dog. Hunting and kindred outdoor delights had kept down the fat and hardened his muscles; and to him, as to the cold-tubbing races, the love of water had been a tonic and a health preserver. --The Call of the Wild is in the public domain.

They probably take advantage of their neighbors. They probably live well in favorable circumstances. X They probably desire other people's possessions. They probably are friendly with everyone in the community.

Read the excerpt from the play A Doll's House. How does the presence of the porter and maid at the beginning of the scene contrast with Helmer's dialogue about spending money? excerpt from A Doll's House by Henrik Ibsen. In this scene, a husband Torvald Helmer and his wife Nora Helmer have a conversation. ACT 1 (SCENE. — A room furnished comfortably and tastefully, but not extravagantly. At the back, a door to the right leads to the entrance-hall, another to the left leads to Helmer's study. Between the doors stands a piano. In the middle of the left-hand wall is a door, and beyond it a window. Near the window are a round table, armchairs and a small sofa. In the right-hand wall, at the farther end, another door; and on the same side, nearer the footlights, a stove, two easy chairs and a rocking-chair; between the stove and the door, a small table. Engravings on the wall; a cabinet with china and other small objects; a small book-case with well-bound books. The floors are carpeted, and a fire burns in the stove. It is winter. A bell rings in the hall; shortly afterwards the door is heard to open. Enter NORA, humming a tune and in high spirits. She is in out-door dress and carries a number of parcels; these she lays on the table to the right. She leaves the outer door open after her, and through it is seen a PORTER who is carrying a Christmas Tree and a basket, which he gives to the MAID who has opened the door.) NORA. Hide the Christmas Tree carefully, Helen. Be sure the children do not see it till this evening, when it is dressed. (To the PORTER, taking out her purse.) How much? PORTER. Sixpence. NORA. There is a shilling. No, keep the change. (The PORTER thanks her, and goes out. NORA shuts the door. She is laughing to herself, as she takes off her hat and coat. She takes a packet of macaroons from her pocket and eats one or two; then goes cautiously to her husband's door and listens.) Yes, he is in. (Still humming, she goes to the table on the right.) HELMER (calls out from his room). Is that my little lark twittering out there? NORA (busy opening some of the parcels). Yes, it is! HELMER. Is it my little squirrel bustling about? NORA. Yes! HELMER. When did my squirrel come home? NORA. Just now. (Puts the bag of macaroons into her pocket and wipes her mouth.) Come in here, Torvald, and see what I have bought. HELMER. Don't disturb me. (A little later, he opens the door and looks into the room, pen in hand.) Bought, did you say? All these things? Has my little spendthrift been wasting money again? NORA. Yes, but, Torvald, this year we really can let ourselves go a little. This is the first Christmas that we have not needed to economize. HELMER. Still, you know, we can't spend money recklessly. NORA. Yes, Torvald, we may be a wee bit more reckless now, mayn't we? Just a tiny wee bit! You are going to have a big salary and earn lots and lots of money. HELMER. Yes, after the New Year; but then it will be a whole quarter before the salary is due. NORA. Pooh! we can borrow till then. HELMER. Nora! (Goes up to her and takes her playfully by the ear.) The same little featherhead! Suppose, now, that I borrowed fifty pounds today, and you spent it all in the Christmas week, and then on New Year's Eve a slate fell on my head and killed me, and — NORA (putting her hands over his mouth). Oh! don't say such horrid things. HELMER. Still, suppose that happened — what then? NORA. If that were to happen, I don't suppose I should care whether I owed money or not. HELMER. Yes, but what about the people who had lent it? NORA. They? Who would bother about them? I should not know who they were. HELMER. That is like a woman! But seriously, Nora, you know what I think about that. No debt, no borrowing. There can be no freedom or beauty about a home life that depends on borrowing and debt. We two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. NORA (moving towards the stove). As you please, Torvald. --A Doll's House is in the public domain.

They show that despite Helmer's concern about money, Helmer thinks it is important to have servants. X They show that despite Helmer's concern about money, Helmer will lend money to other people. They show that even with Helmer's concern about money, Helmer sometimes has to borrow money. They show that because of Helmer's concern about money, Helmer is afraid to fire servants.

An author depicts a character as refusing to participate in the bullying of a new student. This is an example of... Select one:

a moment of final suspense. indirect characterization. X direct characterization. falling action.

In this passage, the event of Caleb's choosing a new faction is blended with the narrator's point of view to... In this passage from Divergent by Veronica Roth, the narrator and her brother Caleb are both 16 years old, and in this America of the future, that means they must decide to join a faction. While the narrator has always believed that her brother would pick the faction that they both grew up in, Abnegation, he surprises everyone by choosing a new faction, Erudite. "I hear mutters that lift into outraged cries. I can barely think straight. My brother, my selfless brother, a faction transfer? My brother, born for Abnegation, Erudite? When I close my eyes, I see the stack of books on Caleb's desk, and his shaking hands sliding along his legs after the aptitude test. Why didn't I realize that when he told me to think of myself yesterday, he was also giving that advice to himself?"

allow us to understand the narrator's shock and also her realization about her brother's words. X allow us to see how selfish, dishonest, and cruel Caleb is. allow us to understand that she never really loved or cared about her brother at all. allow us to understand that Caleb has been treated unfairly and this is a horrible event.

A story in which a family is trapped in a mountain cabin during a blizzard presents a clear example of...

characterization influencing a plot. symbolism influencing a plot. setting influencing a plot. X point of view influencing a plot

Which of the following words BEST describes direct characterization?

complicated straightforward X vague unclear

An author describes a story's main character as "kind, gentle, and patient." This is an example of...

conflict. dialogue. direct characterization. X indirect characterization.

Dialogue is what a character

does. says. X feels. thinks.

Which of the following words BEST describes indirect characterization?

implicit X confusing obvious explicit

Characterization refers to how the characters in a story are

interpreted by the reader. related to one another. developed by the author. X represented by a symbol.

The time and place in which a story occurs is its...

narrator. setting. X dialogue. speaker.

When a character in a story speaks, this is known as

quotation. characterization. dialogue. X narration.

In this passage, the imagery of making art and collages is connected to the narrator's character to... "Lots of people can't find beauty in my neighborhood, but I can. Ever since elementary school, I've been making beauty out of everyday things--candy wrappers, pages of a newspaper, receipts, rip-outs from magazines. I cut and tear, arrange and rearrange, and glue them down, morphing them into something no one else thought they could be. Like me. I'm ordinary too. The only thing fancy about me is my name: Jade. But I am not precious like the gem. There is nothing exquisite about my life. It's mine, though, so I'm going to make something out of it." - Renee Watson, Piecing Me Together

reveal her ability to make the most out of difficult situations. X reveal that she is depressed and hopeless. reveal that one day, she is going to be a famous artist. reveal that she always has her head in the clouds.

After the playwrights introduce all of the characters and setting, they offer this scene to.. In this passage from the play, The Diary of Anne Frank, dramatized by Albert Hackett and Frances Goodrich, in the first Act, soon after the Franks have begun hiding from the nazis in the attic, Anne Frank has a terrible nightmare, and the scene begins with her screaming. This is the beginning of the ever-increasing struggles and fears that continue to rise after this scene, including a robbery, and the eventual capture of all of the family by the nazis. "ANNE: (Screaming) No! No! Don't... don't take me! (She moans, tossing and crying in her sleep. The other people wake, terrified. Mr. dussel sits up in bed, furious.) MR. DUSSEL: Shush! Anne! Anne, for God's sake, shush!"

show rising action as the characters, specifically Anne, becomes more afraid that the nazis will find and capture them. X show climax, as this scene is the highest point of action in the play. show exposition, as this scene gives us an understanding of setting and basic details about each character. show resolution, as this scene provides a proper ending to the play.

The individuals that appear in a story are known as

speakers. actors. characters. X narrators.

A story in which a young woman emerges from tragedy to become a great singer presents a clear example of...

symbolism influencing a plot. characterization influencing a plot. X point of view influencing a plot. setting influencing a plot.

In literature, the narrator may also be referred to as

the author. the speaker. X the writer. the reader.

The narrator in a story is

the main character. the storyteller. X the author. the bad guy.

In this passage, the narrator describes the place where she lives (the setting), and it helps us understand that... "This is the season when they bury the children who die from the coughing disease. In the rainy months, they patch the crumbling mud walls of their huts and keep the fire going so that yesterday's gruel can be stretched to make tomorrow's dinner. They watch the river turn into a thundering beast.... This is the season when they bury the children who cannot be carried to the doctor on the other side of that river. In the cool months, they prepare special food for the festivals. They make rice beer for the men..." - Patricia McCormick, Sold

the narrator loves her home. the narrator enjoys festivals. the narrator's life is full of hardship and difficulty. X the narrator drinks rice beer.

In literature, a speaker is

the writer or author of a poem or story. the voice or narrator of a poem or story. X a character that tells a story of her own. a character that uses a lot of dialogue.

This scene is included to show Mr. Van Daan's character traits, as well as to... In this scene from the play, The Diary of Anne Frank, dramatized by Albert Hackett and Frances Goodrich, Mr. Van Daan, one of the members of the other family that lives in the attic with the Franks, sneaks downstairs to have some extra food. This is a betrayal of the rest of the household, because everyone is hungry and there is very little food to go around. "We can faintly see Mr. and Mrs. frank and Anne in their beds. Margot sleeps U.L. behind the drawn curtain. Suddenly, in the Van Daan's room a match flares up for a moment and then is quickly put out. Mr. Van Daan, in bare feet, dressed in underwear and trousers, is dimly seen coming stealthily down the stairs and into the Center room. He goes to the food safe and again lights a match. Then he cautiously opens the safe, taking out a half loaf of bread. As he closes the safe, it creaks. He stands rigid. Mrs. Frank sits up in bed. She sees him. MRS. FRANK (Screaming) Otto! Otto! Come quick! (The rest of the people wake, hurriedly getting up.) MR. FRANK What is it? What's happened? (Mr. Van Daan starts for stairs, becomes confused and continues across to U.L. Margot hurriedly gets stool above stove and drags it under hanging lamp.) MRS. FRANK (as she rushes over to Mr. Van Daan.) He's stealing the food!... MR. DUSSEL: It was you, and all the time we thought it was the rats! MR. FRANK: Mr. Van Daan, how could you! MR. VAN DAAN: ... I'm hungry... MRS. FRANK: (With righteous rage.) We're all of us hungry! I see the children getting thinner and thinner! Your own son Peter... I've heard him moan in his sleep, he's so hungry!... And you come in the night and steal food that should go to them... to the children!"

to reveal how Mr. Dussell is extremely forgiving, even when under stress. reveal how unreasonable and overreacting the rest of the household is. reveal how a small offense is an outrage to everyone because of their extreme hunger and poor living conditions. X reveal how everyone, not just Mr. Van Daan has been secretly stealing food this whole time and blaming it on the rats.