Use the excerpt from “Big Water” to answer the question. What detail from the text best supports the analysis that the narrator has a fever? (1 point) Responses She does not want to be touched. She does not want to be touched. She feels weak. She feels weak. Her friend is allowed to walk on his own. Her friend is allowed to walk on his own. Her forehead is on fire.
The detail from the text that best supports the analysis that the narrator has a fever is "Her forehead is on fire."
The detail from the text that best supports the analysis that the narrator has a fever is "Her forehead is on fire."
To answer this question, the best approach is to look for specific details in the provided text excerpt from "Big Water." Let's analyze the given options one by one:
1. "She does not want to be touched": This statement could potentially suggest that the narrator has a fever since individuals with a fever often experience sensitivity to touch.
2. "She feels weak": Feeling weak can be a symptom of having a fever, so this detail could also support the analysis.
3. "Her friend is allowed to walk on his own": While this information might imply that the narrator is unable to walk due to feeling weak, it is not a direct indicator of having a fever. Therefore, it is less likely to be the best supporting detail.
4. "Her forehead is on fire": This statement provides a clear physical symptom commonly associated with a fever – a hot forehead. Thus, it strongly supports the analysis that the narrator has a fever.
Considering these options, the detail that best supports the analysis of the narrator having a fever is "Her forehead is on fire."
Use the paragraph to answer the question. The evening unfurled with possibility. Each step I took added a new sound to the symphony of the forest—the already-vibrant medley of crickets, tree frogs, and leaves in the wind. I raced toward my destiny, knowing with eternal certainty that tonight was the night I would find my purpose. What impact do the words symphony and melody have on the author’s meaning? (1 point) Responses They give the description of sound a serious connotation. They give the description of sound a serious connotation. They give the description of sound a playful connotation. They give the description of sound a playful connotation. They give the description of sound a positive connotation. They give the description of sound a positive connotation. They give the description of sound a negative connotation. They give the description of sound a negative connotation.
The impact of the words "symphony" and "melody" in the passage is that they give the description of sound a positive connotation.
Use the paragraph to answer the question. But something brighter than sunshine used often to look from the cottage into the forest, and something even more gloomy than shadows often glowered from its windows upon the sunny lake. What connotation does the word glowered have in this context? (1 point) Responses a very positive connotation a very positive connotation a slightly positive connotation a slightly positive connotation a slightly negative connotation a slightly negative connotation a very negative connotation
The connotation of the word "glowered" in this context is a very negative connotation.
What is the origin of the phrase tête-à-tête?(1 point) Responses French French Spanish Spanish English English Latin
The origin of the phrase "tête-à-tête" is French.
Use the story to answer the question. What message about perspective does the author convey in this passage? (1 point) Responses It can be different for everyone without anyone being wrong. It can be different for everyone without anyone being wrong. It can evolve as the person holding it changes their mind. It can evolve as the person holding it changes their mind. It can change depending on the information that comes with it. It can change depending on the information that comes with it. It can be affected by who is looking and where they are looking from.
The message about perspective that the author conveys in this passage is: "It can be different for everyone without anyone being wrong."
Use the story to answer the question. Based on this excerpt from the end of a story, what genre does the author use to tell the story? (1 point) Responses science fiction science fiction fantasy fantasy mystery mystery adventure adventure
Without the provided excerpt from the end of the story, it is not possible to determine the exact genre the author uses to tell the story. Please provide the necessary excerpt to assist further.
What comes after a story’s climax? Select the two correct answers.(1 point) Responses inciting incident inciting incident exposition exposition rising action rising action resolution resolution falling action
The two correct answers for what comes after a story's climax are resolution and falling action.
Use the story description to answer the question. A story begins with two characters working together to change a tire. The characters are trying to avoid speaking to each other, and it becomes clear that they had an argument before they ended up in this situation. A red car pulls up behind them. A scene shows one of the two characters riding in the red car, having a lighthearted conversation with its driver. Another scene shows the two characters who were working to change the tire arguing about the driver of the red car. As the driver of the red car approaches the two characters, their eyes meet. It is clear their argument has not been resolved. How does the author use a plot device to create an effect? (1 point) Responses A plot device increases tension. A plot device increases tension. A plot device creates a sense of surprise. A plot device creates a sense of surprise. A plot device increases the conflict. A plot device increases the conflict. A plot device creates a sense of mystery. A plot device creates a sense of mystery.
In the given story description, the author uses a plot device to create the effect of increasing tension. By introducing the red car and the subsequent conflict and unresolved argument between the characters, the plot device adds a layer of tension to the story.
Use the story description to answer the question. A story begins with a character trying to make a major life decision. The character goes to sleep, and the next day the storyline splits in two. One thread of scenes follows the character showing their life if they had decided the big choice one way. The other follows the character showing their life if they had decided the big choice another way. Both paths involve unexpected downsides and upsides. Near the end of the story, the character hits their head in both storylines. For a moment, the character fully understands both realities and must choose which reality to return to. How does the author’s choice of structure create a specific effect? (1 point) Responses The use of a subplot increases tension. The use of a subplot increases tension. The use of parallel plots increases tension. The use of parallel plots increases tension. The use of a subplot adds a sense of surprise. The use of a subplot adds a sense of surprise. The use of parallel plot adds a sense of surprise.
In the story description, the author's choice of structure, specifically the use of parallel plots, creates a specific effect of increasing tension. By presenting two different storylines that explore the consequences of the character's decision, each with unexpected downsides and upsides, the parallel plots generate a sense of tension as the character must choose which reality to return to.
Use the excerpt from “The Summer of El Pintor” by Ofelia Dumas Lachtman to answer the question. Which sentence or sentences from the passage help readers determine the story’s setting? (1 point) Responses The morning mist was completely gone. The sun was strong and bright, intensifying the color of a row of potted marigolds on the front porch of one of the houses. The morning mist was completely gone. The sun was strong and bright, intensifying the color of a row of potted marigolds on the front porch of one of the houses. Monica shrank into the black leather of the bucket seat. Monica shrank into the black leather of the bucket seat. They shot glances in their direction. They shot glances in their direction. She wanted to hide. But why? She took a deep breath, sat up, and forced herself to look around again. She wanted to hide. But why? She took a deep breath, sat up, and forced herself to look around again.
The sentence that helps readers determine the story's setting is: "The morning mist was completely gone. The sun was strong and bright, intensifying the color of a row of potted marigolds on the front porch of one of the houses."
Which story setting would best support a happy, joyful mood?(1 point) Responses a grocery store on a cold winter morning a grocery store on a cold winter morning a crowded park on a humid summer day a crowded park on a humid summer day the woods during a thunderstorm at night the woods during a thunderstorm at night the finish line of a big race on a spring afternoon
The story setting that would best support a happy, joyful mood is "the finish line of a big race on a spring afternoon."
Ana put her book aside at Nier’s request. She knew better than to do otherwise, as Nier was always persistent and was sure to annoy her into reading the same paragraph half a dozen times if she bothered to press on despite his entreaties for attention. He was quite the handful, but for the love of his brother, Ana played along. “There, now, that’s a sport,” Nier smiled as the book touched the table. “Ana, I must ask you for one additional favor. Could you pick a card?” He spread a deck before her with a magician’s flourish. Her lips tightened, concealing whatever opinion they might have pronounced had there been any point in pronouncing it. She chose a card from the middle of the pack. Question Use the excerpt to answer the question. What best describes the way Ana is characterized? (1 point) Responses Direct characterization tells readers Ana is an irritable person who cannot afford to upset Nier. Direct characterization tells readers Ana is an irritable person who cannot afford to upset Nier. Indirect characterization shows readers Ana is an irritable person who cannot afford to upset Nier. Indirect characterization shows readers Ana is an irritable person who cannot afford to upset Nier. Direct characterization tells readers Ana is a patient character who is acting wisely. Direct characterization tells readers Ana is a patient character who is acting wisely. Indirect characterization shows readers Ana is a patient character who is acting wisely.
Based on the provided excerpt, the best description of the way Ana is characterized is indirect characterization showing readers that Ana is an irritable person who cannot afford to upset Nier.
Use the story to answer the question. How can readers tell Cora is a complex character? (1 point) Responses Her family is the focus of the plot. Her family is the focus of the plot. She has more dialogue than any other character in the story. She has more dialogue than any other character in the story. Her actions drive the plot forward by causing the main story problem. Her actions drive the plot forward by causing the main story problem. She has the most to lose if the story problem is not solved.
Based on the information provided, readers can tell that Cora is a complex character because her actions drive the plot forward by causing the main story problem. This suggests that Cora's motivations and decisions are pivotal in shaping the events of the story, indicating a level of complexity in her character.
Use the story to answer the question. Which details are essential to include in an objective summary of the story? Select the two correct answers. (1 point) Responses details about Roky’s frustrating actions details about Roky’s frustrating actions basic descriptions of Cora and Roky basic descriptions of Cora and Roky the reason for Cora’s change of heart the reason for Cora’s change of heart a description of the cottage where the story happens a description of the cottage where the story happens a list of ways Cora tries to turn Ruky human again
The two essential details to include in an objective summary of the story are:
1. Basic descriptions of Cora and Roky: This helps establish the main characters involved in the story and provides necessary context.
2. The reason for Cora's change of heart: This is a crucial plot point that drives the narrative and presents a significant development in the story.
Use the excerpt from “Big Water” to answer the question. It is possible to infer from this excerpt something about what Henry and Eva have done for Daniel and the narrator. What inference can you make? In 3–5 sentences, state your inference and provide strong and thorough textual evidence from the excerpt to support the inference.
Without the provided excerpt from "Big Water," it is not possible to make an accurate inference about what Henry and Eva have done for Daniel and the narrator. Please provide the necessary excerpt to assist further.
Big Water by Andrea Curtis Today I feel only dread. I’m sweating again—my cheeks are flushed. I thought I would feel relieved to be back in civilization, to be rescued from certain death, but instead, seeing the town and the men rushing about on the dock, the boats and sails and horse-drawn wagons, I’m struck again by what we have just endured. I want to find Daniel, see his face, know that he remembers too, but he’s tunneled down beneath the blankets like a mole. “Parry Sound,” Henry calls out, and I see the blankets covering Daniel begin to stir. Along the shore, lumber is stacked in piles as high as a schooner. It looks like a pencil drawing done with a ruler—perfect, straight lines. Boats, most of them small, meant for fishing, dot the bay here and there. Some are tied up at dock; others are anchored in the water just past the river. The chimney stacks of houses and large wood-frame buildings whisper smoky murmurs into the sky. I hear the hwah of a seagull and look up, hoping absurdly to see the bird from the other day. But there are many seagulls, all of them flying around like tugboats escorting a ship into harbor.
The wind begins to die as we get closer, and Henry and Eva set to work dousing the sails. I want to help them, show my gratitude, but when I try to move, the muscles in my legs are putty, my head a spinning top. Eva looks at me with eyebrows raised and shakes her head no. She points to the bottom of the boat. I should sit. Henry and Eva fold the sails and get out oars. We are bumping up against the stone-filled cribs of a large, wide dock within minutes. I watch the men on the docks with their untamed beards and callused hands, their frayed wool pants and faded hats. They are young and old and move about like a kind of machine, few of them speaking but working together without need of words. Moving cargo, hauling wood, cleaning boats. Picking up, passing, carrying. I hear one call to another in French, someone respond in English. A thick-necked tabby cat sneaks down the dock, sniffing here and there. It rubs its long orange-and-white striped side along one burly man’s boot. The man reaches down and scratches the old cat behind its ear, and it leans in toward him. These men pay us little attention until we are banging up against the high dock. Their faces flicker with confusion, then disbelief as Daniel calls out, “We were on the Asia. The boat is sunk. We are survivors! Help us.” He holds up the pillowcase with S.S. Asia stenciled along the hem.
There’s a moment in which nothing happens, as if no one can quite believe what he is hearing. Then one man shouts, “Survivors!” and scrambles to take the bowline. Another reaches far down into the boat to haul Daniel up like a fish on a line. They gesture to me. “Petite fille,” they gasp. I lift my arms, and someone takes my hands. The blanket falls from my shoulders as I’m in the air. “A girl,” one says. “A child.” I don’t have time to think about how strange these words sound, how little I feel like a child, before I am half carried, half dragged down the dock, men smelling of sweat and wood and coal pushing in on either side of me. I am still weak, my forehead on fire once again, and I let them lift me, though I don’t like their arms around my waist, though I want to turn back to Eva to say, Thank you, thank you for your berries and your kindness. Thank you, Henry, for keeping us safe when there was no one else. Daniel is beside me, though he is allowed to walk on his own. I can hear him talking to the men, but I can’t make out the words. There are shouts all around us. “The Asia! Survivors! Make way! Survivors!”
Use the excerpt from “Big Water” to answer the question. It is possible to infer from this excerpt something about what Henry and Eva have done for Daniel and the narrator. What inference can you make? In 3–5 sentences, state your inference and provide strong and thorough textual evidence from the excerpt to support the inference.
Based on the provided excerpt, it can be inferred that Henry and Eva have played a crucial role in rescuing and taking care of Daniel and the narrator. The textual evidence supporting this inference includes the following statements: "Thank you, thank you for your berries and your kindness," indicating the narrator's gratitude towards Eva, and "Henry, for keeping us safe when there was no one else," highlighting Henry's efforts in ensuring their safety. Furthermore, their actions of dousing the sails, folding them, and navigating the boat to the dock further demonstrate their role in guiding and providing assistance. These actions, combined with the narrator's expressions of gratitude, suggest that Henry and Eva have played a vital part in rescuing and supporting Daniel and the narrator throughout their ordeal.
The Count of Monte Cristo by Alexandre Dumas This room was occupied by Dantès’ father. The news of the arrival of the _Pharaon_ had not yet reached the old man, who, mounted on a chair, was amusing himself by training with trembling hand the nasturtiums and sprays of clematis that clambered over the trellis at his window. Suddenly, he felt an arm thrown around his body, and a well-known voice behind him exclaimed, “Father—dear father!” The old man uttered a cry, and turned round; then, seeing his son, he fell into his arms, pale and trembling. “What ails you, my dearest father? Are you ill?” inquired the young man, much alarmed. “No, no, my dear Edmond—my boy—my son!—no; but I did not expect you; and joy, the surprise of seeing you so suddenly—Ah, I feel as if I were going to die.”
“Come, come, cheer up, my dear father! ’Tis I—really I! They say joy never hurts, and so I came to you without any warning. Come now, do smile, instead of looking at me so solemnly. Here I am back again, and we are going to be happy.” “Yes, yes, my boy, so we will—so we will,” replied the old man; “but how shall we be happy? Shall you never leave me again? Come, tell me all the good fortune that has befallen you.” “God forgive me,” said the young man, “for rejoicing at happiness derived from the misery of others, but, Heaven knows, I did not seek this good fortune; it has happened, and I really cannot pretend to lament it. The good Captain Leclere is dead, father, and it is probable that, with the aid of M. Morrel, I shall have his place. Do you understand, father? Only imagine me a captain at twenty, with a hundred louis pay, and a share in the profits! Is this not more than a poor sailor like me could have hoped for?” “Yes, my dear boy,” replied the old man, “it is very fortunate.”
“Well, then, with the first money I touch, I mean you to have a small house, with a garden in which to plant clematis, nasturtiums, and honeysuckle. But what ails you, father? Are you not well?” “’Tis nothing, nothing; it will soon pass away”—and as he said so the old man’s strength failed him, and he fell backwards. “Come, come,” said the young man, “a glass of wine, father, will revive you. Where do you keep your wine?” “No, no; thanks. You need not look for it; I do not want it,” said the old man.
“Yes, yes, father, tell me where it is,” and he opened two or three cupboards. “It is no use,” said the old man, “there is no wine.” “What, no wine?” said Dantès, turning pale, and looking alternately at the hollow cheeks of the old man and the empty cupboards. “What, no wine? Have you wanted money, father?” “I want nothing now that I have you,” said the old man.
“Yet,” stammered Dantès, wiping the perspiration from his brow,—“yet I gave you two hundred francs when I left, three months ago.” “Yes, yes, Edmond, that is true, but you forgot at that time a little debt to our neighbor, Caderousse. He reminded me of it, telling me if I did not pay for you, he would be paid by M. Morrel; and so, you see, lest he might do you an injury——” “Well?” “Why, I paid him.”
“But,” cried Dantès, “it was a hundred and forty francs I owed Caderousse.” “Yes,” stammered the old man. “And you paid him out of the two hundred francs I left you?” The old man nodded.
“So that you have lived for three months on sixty francs,” muttered Edmond. “You know how little I require,” said the old man. “Heaven pardon me,” cried Edmond, falling on his knees before his father.
Use the story excerpt to answer the question. In 3–5 sentences, explain how Dantès contributes to the development of a theme. Provide samples from the text to support your answer.