Asked by .
The Open Window
short story by H. H. Munro (Saki)
1 “My aunt will be down presently, Mr. Nuttel,” said a very self-possessed1 young lady of fifteen; “in the meantime you must try and put up with me.”
2 Framton Nuttel endeavoured to say the correct something which should duly flatter the niece of the moment without unduly discounting2 the aunt that was to come. Privately he doubted more than ever whether these formal visits on a succession of total strangers would do much towards helping the nerve cure which he was supposed to be undergoing.
3 “I know how it will be,” his sister had said when he was preparing to migrate to this rural retreat; “you will bury yourself down there and not speak to a living soul, and your nerves will be worse than ever from moping. I shall just give you letters of introduction to all the people I know there. Some of them, as far as I can remember, were quite nice.”
4 Framton wondered whether Mrs. Sappleton, the lady to whom he was presenting one of the letters of introduction, came into the nice division.
5 “Do you know many of the people round here?” asked the niece, when she judged that they had had sufficient silent communion.
6 “Hardly a soul,” said Framton. “My sister was staying here, at the rectory,3 you know, some four years ago, and she gave me letters of introduction to some of the people here.”
7 He made the last statement in a tone of distinct regret.
8 “Then you know practically nothing about my aunt?” pursued the self-possessed young lady.
9 “Only her name and address,” admitted the caller. He was wondering whether Mrs. Sappleton was in the married or widowed state. An undefinable something about the room seemed to suggest masculine habitation.
10 “Her great tragedy happened just three years ago,” said the child; “that would be since your sister’s time.”
11 “Her tragedy?” asked Framton; somehow in this restful country spot tragedies seemed out of place.
12 “You may wonder why we keep that window wide open on an October afternoon,” said the niece, indicating a large French window that opened on to a lawn.
13 “It is quite warm for the time of the year,” said Framton; “but has that window got anything to do with
the tragedy?”
14 “Out through that window, three years ago to a day, her husband and her two young brothers went off
for their day’s shooting. They never came back. In crossing the moor to their favourite snipe-shooting ground
they were all three engulfed in a treacherous piece of bog. It had been that dreadful wet summer, you know,
and places that were safe in other years gave way suddenly without warning. Their bodies were never recovered. That was the dreadful part of it.” Here the child’s voice lost its self-possessed note and became falteringly human. “Poor aunt always thinks that they will come back some day, they and the little brown spaniel that was lost with them, and walk in at that window just as they used to do. That is why the window is kept open every evening till
it is quite dusk. Poor dear aunt, she has often told me how they went out, her husband with his white waterproof coat over his arm, and Ronnie, her youngest brother, singing ‘Bertie, why do you bound?’ as he always did to tease her, because she said it got on her nerves. Do you know, sometimes on still, quiet evenings like this, I almost get a creepy feeling that they will all walk in through that window—”
1self-possessed: calm and confident
2discounting: downplaying the social status of
3rectory: house where a local priest or minister lives
15 She broke off with a little shudder. It was a relief to Framton when the aunt bustled into the room with a whirl
of apologies for being late in making her appearance.
16 “I hope Vera has been amusing you?” she said.
17 “She has been very interesting,” said Framton.
18 “I hope you don’t mind the open window,” said Mrs. Sappleton briskly; “my husband and brothers will be
home directly from shooting, and they always come in this way. They’ve been out for snipe in the marshes to-day, so they’ll make a fine mess over my poor carpets. So like you men-folk, isn’t it?”
19 She rattled on cheerfully about the shooting and the scarcity of birds, and the prospects for duck in the winter.
To Framton it was all purely horrible. He made a desperate but only partially successful effort to turn the talk on
to a less ghastly topic; he was conscious that his hostess was giving him only a fragment of her attention, and her eyes were constantly straying past him to the open window and the lawn beyond. It was certainly an unfortunate coincidence that he should have paid his visit on this tragic anniversary.
20 “The doctors agree in ordering me complete rest, an absence of mental excitement, and avoidance of anything
in the nature of violent physical exercise,” announced Framton, who laboured under the tolerably wide-spread delusion that total strangers and chance acquaintances are hungry for the least detail of one’s ailments and infirmities,4 their cause and cure. “On the matter of diet they are not so much in agreement,” he continued.
21 “No?” said Mrs. Sappleton, in a voice which only replaced a yawn at the last moment. Then she suddenly brightened into alert attention—but not to what Framton was saying.
22 “Here they are at last!” she cried. “Just in time for tea, and don’t they look as if they were muddy up to the eyes!”
23 Framton shivered slightly and turned towards the niece with a look intended to convey sympathetic comprehension. The child was staring out through the open window with dazed horror in her eyes. In a chill
shock of nameless fear Framton swung round in his seat and looked in the same direction.
24 In the deepening twilight three figures were walking across the lawn towards the window; they all carried guns under their arms, and one of them was additionally burdened with a white coat hung over his shoulders. A tired brown spaniel kept close at their heels. Noiselessly they neared the house, and then a hoarse young voice chanted out of the dusk: “I said, Bertie, why do you bound?”
25 Framton grabbed wildly at his stick and hat; the hall-door, the gravel-drive, and the front gate were
dimly-noted stages in his headlong5 retreat. A cyclist coming along the road had to run into the hedge
to avoid an imminent collision.
26 “Here we are, my dear,” said the bearer of the white mackintosh, coming in through the window; “fairly muddy, but most of it’s dry. Who was that who bolted out as we came up?”
27 “A most extraordinary man, a Mr. Nuttel,” said Mrs. Sappleton; “could only talk about his illnesses, and dashed
off without a word of good-bye or apology when you arrived. One would think he had seen a ghost.”
28 “I expect it was the spaniel,” said the niece calmly; “he told me he had a horror of dogs. He was once
hunted into a cemetery somewhere on the banks of the Ganges by a pack of pariah dogs,6 and had to spend
the night in a newly dug grave with the creatures snarling and grinning and foaming just above him. Enough
to make anyone lose their nerve.”
29 Romance at short notice was her speciality.
4infirmities: bodily weaknesses; health problems
5headlong: very hasty and without thinking
6pariah dogs: stray dogs
Question 1 (1 point)
Listen
Which sentence best states a theme of “The Open Window”?
Question 1 options:
Inner strength is most important.
Empowering others is wise.
Fear can cause the desire to escape.
Companionship can be comforting.
short story by H. H. Munro (Saki)
1 “My aunt will be down presently, Mr. Nuttel,” said a very self-possessed1 young lady of fifteen; “in the meantime you must try and put up with me.”
2 Framton Nuttel endeavoured to say the correct something which should duly flatter the niece of the moment without unduly discounting2 the aunt that was to come. Privately he doubted more than ever whether these formal visits on a succession of total strangers would do much towards helping the nerve cure which he was supposed to be undergoing.
3 “I know how it will be,” his sister had said when he was preparing to migrate to this rural retreat; “you will bury yourself down there and not speak to a living soul, and your nerves will be worse than ever from moping. I shall just give you letters of introduction to all the people I know there. Some of them, as far as I can remember, were quite nice.”
4 Framton wondered whether Mrs. Sappleton, the lady to whom he was presenting one of the letters of introduction, came into the nice division.
5 “Do you know many of the people round here?” asked the niece, when she judged that they had had sufficient silent communion.
6 “Hardly a soul,” said Framton. “My sister was staying here, at the rectory,3 you know, some four years ago, and she gave me letters of introduction to some of the people here.”
7 He made the last statement in a tone of distinct regret.
8 “Then you know practically nothing about my aunt?” pursued the self-possessed young lady.
9 “Only her name and address,” admitted the caller. He was wondering whether Mrs. Sappleton was in the married or widowed state. An undefinable something about the room seemed to suggest masculine habitation.
10 “Her great tragedy happened just three years ago,” said the child; “that would be since your sister’s time.”
11 “Her tragedy?” asked Framton; somehow in this restful country spot tragedies seemed out of place.
12 “You may wonder why we keep that window wide open on an October afternoon,” said the niece, indicating a large French window that opened on to a lawn.
13 “It is quite warm for the time of the year,” said Framton; “but has that window got anything to do with
the tragedy?”
14 “Out through that window, three years ago to a day, her husband and her two young brothers went off
for their day’s shooting. They never came back. In crossing the moor to their favourite snipe-shooting ground
they were all three engulfed in a treacherous piece of bog. It had been that dreadful wet summer, you know,
and places that were safe in other years gave way suddenly without warning. Their bodies were never recovered. That was the dreadful part of it.” Here the child’s voice lost its self-possessed note and became falteringly human. “Poor aunt always thinks that they will come back some day, they and the little brown spaniel that was lost with them, and walk in at that window just as they used to do. That is why the window is kept open every evening till
it is quite dusk. Poor dear aunt, she has often told me how they went out, her husband with his white waterproof coat over his arm, and Ronnie, her youngest brother, singing ‘Bertie, why do you bound?’ as he always did to tease her, because she said it got on her nerves. Do you know, sometimes on still, quiet evenings like this, I almost get a creepy feeling that they will all walk in through that window—”
1self-possessed: calm and confident
2discounting: downplaying the social status of
3rectory: house where a local priest or minister lives
15 She broke off with a little shudder. It was a relief to Framton when the aunt bustled into the room with a whirl
of apologies for being late in making her appearance.
16 “I hope Vera has been amusing you?” she said.
17 “She has been very interesting,” said Framton.
18 “I hope you don’t mind the open window,” said Mrs. Sappleton briskly; “my husband and brothers will be
home directly from shooting, and they always come in this way. They’ve been out for snipe in the marshes to-day, so they’ll make a fine mess over my poor carpets. So like you men-folk, isn’t it?”
19 She rattled on cheerfully about the shooting and the scarcity of birds, and the prospects for duck in the winter.
To Framton it was all purely horrible. He made a desperate but only partially successful effort to turn the talk on
to a less ghastly topic; he was conscious that his hostess was giving him only a fragment of her attention, and her eyes were constantly straying past him to the open window and the lawn beyond. It was certainly an unfortunate coincidence that he should have paid his visit on this tragic anniversary.
20 “The doctors agree in ordering me complete rest, an absence of mental excitement, and avoidance of anything
in the nature of violent physical exercise,” announced Framton, who laboured under the tolerably wide-spread delusion that total strangers and chance acquaintances are hungry for the least detail of one’s ailments and infirmities,4 their cause and cure. “On the matter of diet they are not so much in agreement,” he continued.
21 “No?” said Mrs. Sappleton, in a voice which only replaced a yawn at the last moment. Then she suddenly brightened into alert attention—but not to what Framton was saying.
22 “Here they are at last!” she cried. “Just in time for tea, and don’t they look as if they were muddy up to the eyes!”
23 Framton shivered slightly and turned towards the niece with a look intended to convey sympathetic comprehension. The child was staring out through the open window with dazed horror in her eyes. In a chill
shock of nameless fear Framton swung round in his seat and looked in the same direction.
24 In the deepening twilight three figures were walking across the lawn towards the window; they all carried guns under their arms, and one of them was additionally burdened with a white coat hung over his shoulders. A tired brown spaniel kept close at their heels. Noiselessly they neared the house, and then a hoarse young voice chanted out of the dusk: “I said, Bertie, why do you bound?”
25 Framton grabbed wildly at his stick and hat; the hall-door, the gravel-drive, and the front gate were
dimly-noted stages in his headlong5 retreat. A cyclist coming along the road had to run into the hedge
to avoid an imminent collision.
26 “Here we are, my dear,” said the bearer of the white mackintosh, coming in through the window; “fairly muddy, but most of it’s dry. Who was that who bolted out as we came up?”
27 “A most extraordinary man, a Mr. Nuttel,” said Mrs. Sappleton; “could only talk about his illnesses, and dashed
off without a word of good-bye or apology when you arrived. One would think he had seen a ghost.”
28 “I expect it was the spaniel,” said the niece calmly; “he told me he had a horror of dogs. He was once
hunted into a cemetery somewhere on the banks of the Ganges by a pack of pariah dogs,6 and had to spend
the night in a newly dug grave with the creatures snarling and grinning and foaming just above him. Enough
to make anyone lose their nerve.”
29 Romance at short notice was her speciality.
4infirmities: bodily weaknesses; health problems
5headlong: very hasty and without thinking
6pariah dogs: stray dogs
Question 1 (1 point)
Listen
Which sentence best states a theme of “The Open Window”?
Question 1 options:
Inner strength is most important.
Empowering others is wise.
Fear can cause the desire to escape.
Companionship can be comforting.
Answers
Answered by
.
Question 1 (1 point)
Listen
Which sentence best states a theme of “The Open Window”?
Question 1 options:
Inner strength is most important.
Empowering others is wise.
Fear can cause the desire to escape.
Companionship can be comforting.
Question 2 (1 point)
Listen
Which quotation from the story best supports the theme of the text?
Question 2 options:
"Do you know, sometimes on still, quiet evenings like this, I almost get a creepy feeling that they will all walk in through that window—" (paragraph 14)
. . . "you will bury yourself down there and not speak to a living soul, and your nerves will be worse than ever from moping. . . ." (paragraph 3)
"My sister was staying here, at the rectory, you know, some four years ago, and she gave me letters of introduction to some of the people here." (paragraph 6)
"You may wonder why we keep that window wide open on an October afternoon," said the niece . . . (paragraph 12)
Question 3 (1 point)
Listen
Read the sentence from paragraph 3.
“I know how it will be,” his sister had said when he was preparing to migrate to this rural retreat; “you will bury yourself down there and not speak to a living soul, and your nerves will be worse than ever from moping. . . .”
The underlined figurative language in this sentence conveys the idea that -
Question 3 options:
Mr. Nuttel is likely to get sicker during his stay in the country
the people Mr. Nuttel's sister wants him to meet have died
the rural area Mr. Nuttel is visiting is sparsely populated
Mr. Nuttel's sister believes he will become isolated
Question 4 (1 point)
Listen
The word division comes from the Latin root videre, which means “to separate.” What is the meaning of the word division in paragraph 4?
Question 4 options:
category
wall
room
territory
Question 5 (1 point)
Listen
Read the sentence from paragraph 14.
“Do you know, sometimes on still, quiet evenings like this, I almost get a creepy feeling that they will all walk in through that window—”
How does this statement create suspense?
Question 5 options:
by scaring Framton with the idea that the ghosts may appear
by telling Framton about a recent shooting accident in the area
by inspiring Framton to be concerned for his safety
by offering Framton an alternative to the day's events
Question 6 (1 point)
Listen
Which line from the story is an example of foreshadowing?
Question 6 options:
". . . three years ago to a day, her husband and her two young brothers went off for their day's shooting . . ." (paragraph 14)
An undefinable something about the room seemed to suggest masculine habitation. (paragraph 9)
"Do you know many of the people round here?" asked the niece . . . (paragraph 5)
It was a relief to Framton when the aunt bustled into the room with a whirl of apologies . . . (paragraph 15)
Question 7 (1 point)
Listen
Which sentence from the story best supports the inference that Framton Nuttel is easily stressed out?
Question 7 options:
. . . he was conscious that his hostess was giving him only a fragment of her attention . . . (paragraph 19)
. . . somehow in this restful country spot tragedies seemed out of place. (paragraph 11)
He was wondering whether Mrs. Sappleton was in the married or widowed state. (paragraph 9)
In a chill shock of nameless fear Framton swung round in his seat . . . (paragraph 23)
Question 8 (1 point)
Listen
Read the dictionary entry.
sympathetic \sĭm´pə-thĕt´ĭk\ adj 1. feeling, showing, or expressing sympathy 2. showing approval of or favor toward an idea or action 3. attracting the liking of others 4. relating to an effect which arises in response to a similar action elsewhere
Which definition best matches the meaning of the word sympathetic as it is used in
paragraph 23?
Question 8 options:
Definition 4
Definition 3
Definition 1
Definition 2
Question 9 (1 point)
Listen
Which type of narrator does the author use in this story?
Question 9 options:
first-person
third-person limited
second-person
third-person omniscient
Question 10 (1 point)
Listen
What is the effect of the point of view used in the story?
Question 10 options:
It allows the reader to experience events as Framton does.
It shows how the tragedy has affected Vera's behavior.
It reveals whether Vera or Framton is more interesting.
It hides Vera's and Framton's thoughts from the reader.
Listen
Which sentence best states a theme of “The Open Window”?
Question 1 options:
Inner strength is most important.
Empowering others is wise.
Fear can cause the desire to escape.
Companionship can be comforting.
Question 2 (1 point)
Listen
Which quotation from the story best supports the theme of the text?
Question 2 options:
"Do you know, sometimes on still, quiet evenings like this, I almost get a creepy feeling that they will all walk in through that window—" (paragraph 14)
. . . "you will bury yourself down there and not speak to a living soul, and your nerves will be worse than ever from moping. . . ." (paragraph 3)
"My sister was staying here, at the rectory, you know, some four years ago, and she gave me letters of introduction to some of the people here." (paragraph 6)
"You may wonder why we keep that window wide open on an October afternoon," said the niece . . . (paragraph 12)
Question 3 (1 point)
Listen
Read the sentence from paragraph 3.
“I know how it will be,” his sister had said when he was preparing to migrate to this rural retreat; “you will bury yourself down there and not speak to a living soul, and your nerves will be worse than ever from moping. . . .”
The underlined figurative language in this sentence conveys the idea that -
Question 3 options:
Mr. Nuttel is likely to get sicker during his stay in the country
the people Mr. Nuttel's sister wants him to meet have died
the rural area Mr. Nuttel is visiting is sparsely populated
Mr. Nuttel's sister believes he will become isolated
Question 4 (1 point)
Listen
The word division comes from the Latin root videre, which means “to separate.” What is the meaning of the word division in paragraph 4?
Question 4 options:
category
wall
room
territory
Question 5 (1 point)
Listen
Read the sentence from paragraph 14.
“Do you know, sometimes on still, quiet evenings like this, I almost get a creepy feeling that they will all walk in through that window—”
How does this statement create suspense?
Question 5 options:
by scaring Framton with the idea that the ghosts may appear
by telling Framton about a recent shooting accident in the area
by inspiring Framton to be concerned for his safety
by offering Framton an alternative to the day's events
Question 6 (1 point)
Listen
Which line from the story is an example of foreshadowing?
Question 6 options:
". . . three years ago to a day, her husband and her two young brothers went off for their day's shooting . . ." (paragraph 14)
An undefinable something about the room seemed to suggest masculine habitation. (paragraph 9)
"Do you know many of the people round here?" asked the niece . . . (paragraph 5)
It was a relief to Framton when the aunt bustled into the room with a whirl of apologies . . . (paragraph 15)
Question 7 (1 point)
Listen
Which sentence from the story best supports the inference that Framton Nuttel is easily stressed out?
Question 7 options:
. . . he was conscious that his hostess was giving him only a fragment of her attention . . . (paragraph 19)
. . . somehow in this restful country spot tragedies seemed out of place. (paragraph 11)
He was wondering whether Mrs. Sappleton was in the married or widowed state. (paragraph 9)
In a chill shock of nameless fear Framton swung round in his seat . . . (paragraph 23)
Question 8 (1 point)
Listen
Read the dictionary entry.
sympathetic \sĭm´pə-thĕt´ĭk\ adj 1. feeling, showing, or expressing sympathy 2. showing approval of or favor toward an idea or action 3. attracting the liking of others 4. relating to an effect which arises in response to a similar action elsewhere
Which definition best matches the meaning of the word sympathetic as it is used in
paragraph 23?
Question 8 options:
Definition 4
Definition 3
Definition 1
Definition 2
Question 9 (1 point)
Listen
Which type of narrator does the author use in this story?
Question 9 options:
first-person
third-person limited
second-person
third-person omniscient
Question 10 (1 point)
Listen
What is the effect of the point of view used in the story?
Question 10 options:
It allows the reader to experience events as Framton does.
It shows how the tragedy has affected Vera's behavior.
It reveals whether Vera or Framton is more interesting.
It hides Vera's and Framton's thoughts from the reader.
Answered by
.
The Role of Monsters in Horror Movies
The Role of Monsters in Horror Movies
film analysis by Mark Brunswick
1 One of the most time-honored traditions in the movie industry is the use of monsters in horror movies. Monsters can stretch our imaginations, provide thrills in the safe environment of a theater or home, and give us insight into our nature as human beings. Many of the better monster horror movies even have a legitimate1 moral or universal theme. For example, human cruelty can make monsters of men.
2 In movies, the characteristics of a monster, and the role the monster plays in developing the plot, theme, characters, and mood of the movie, are largely dependent on the definition we use for the word monster and the types of monsters that we recognize. One convenient way to define monster is a being that is not human (or not fully human), is not found in the normal order of nature on Earth as we know it, and poses a mortal threat to the main characters in the movie.
3 With this definition, most movie monsters fall into one of five broad categories: (1) creatures from other worlds, such as aliens from outer space; (2) creatures that were created by humans, such as Dr. Frankenstein’s monster; (3) supernatural monsters, including demons, devils, ghosts, and evil spirits; (4) creatures that have evolved from normal beings, usually as the result of something bad that humans have done; and (5) people that have undergone a physical metamorphosis2 to change into something that is no longer physically human, such as werewolves.
4 Some people would broaden this fifth category of monsters to include human beings whose behavior is so brutal, violent, and “inhuman” that they scarcely seem human anymore. While that definition is sometimes useful in analyzing movies, it also muddies the waters by introducing questions like, Are all bad people monsters? Or, at what point does a person who does violent, evil things stop being merely a criminal and become a monster?
5 Well-crafted monsters in movies serve several purposes. The first is to evoke a strong emotional response from the audience, usually of disgust, loathing, and horror. The word horror takes its meaning from the Latin root horrere, meaning “to make one’s hair stand on end.” To be effective, then, a monster should be frightening to look at, like the creature in the movie Alien.
6 Another obvious purpose is to introduce the main conflict in the movie by posing a threat to a group of people. Usually, the main characters (and sometimes society as a whole) are in danger of dying in a most unpleasant manner. Another kind of threat in a horror movie, however, is a bit more subtle: the threat of continuing to live, but being turned into something evil. This type of threat is common in vampire, werewolf, and some alien movies.
7 The nature of the monster and the threat it poses helps reveal the nature of the protagonists—the characters who are on the side of good rather than evil—and sometimes even the theme of the movie. Are the protagonists clever or foolish when dealing with the monster? Are they arrogant and prejudiced, or intelligent and objective? Do they look out for one another, or only for themselves?
8 A critical question to ask about the relationship between the monster and the protagonists is this: Does the monster or the conflict with the monster exist primarily because of something that human beings did? If human beings are responsible for the existence of the monster or the conflict, then a moral question is raised: If the humans caused the problem through their greed, arrogance, cruelty, or folly, should they pay the price? In these cases, an interesting reversal sometimes takes place. The audience may lose sympathy for the human protagonists and gain sympathy for the monster. The theme of the movie may then be related to the question of what makes a monster, and what makes a human.
legitimate: valid or true
2metamorphosis: a transformation to something very different
9 Frankenstein and King Kong, two of the best-known early monster movies, fall into this category. In Frankenstein, Dr. Frankenstein’s arrogance motivates him to “play God” by creating life in the form of the “monster.” But he ignores the monster’s needs and mistreats his own creation. Even worse, the townspeople, acting out of ignorance, prejudice, fear, and cruelty, try to destroy the monster. Eventually, the monster decides to seek revenge and the results are disastrous for everyone.
10 In King Kong, greedy businessmen capture an enormous gorilla on a remote island and take him to New York where he is chained, caged, put on display, and otherwise abused. Again, the result is disaster.
11 An interesting aspect of these and other similar movies is that the monster sometimes shows the redeeming3 characteristics of affection, kindness, and even tenderness, while the humans demonstrate cruelty, prejudice, and greed. In some ways, the monster is more “human” than the humans, and the humans are more “monstrous” than the monster.
12 Well-crafted monster movies can be fun and exciting. We enjoy being frightened, and we love to see good triumph over evil. But the best of these movies offer something more than just thrills and epic battles. They offer insights into the strengths and weaknesses of humankind.
3redeeming: compensating or making up for negative qualities
The Role of Monsters in Horror Movies
film analysis by Mark Brunswick
1 One of the most time-honored traditions in the movie industry is the use of monsters in horror movies. Monsters can stretch our imaginations, provide thrills in the safe environment of a theater or home, and give us insight into our nature as human beings. Many of the better monster horror movies even have a legitimate1 moral or universal theme. For example, human cruelty can make monsters of men.
2 In movies, the characteristics of a monster, and the role the monster plays in developing the plot, theme, characters, and mood of the movie, are largely dependent on the definition we use for the word monster and the types of monsters that we recognize. One convenient way to define monster is a being that is not human (or not fully human), is not found in the normal order of nature on Earth as we know it, and poses a mortal threat to the main characters in the movie.
3 With this definition, most movie monsters fall into one of five broad categories: (1) creatures from other worlds, such as aliens from outer space; (2) creatures that were created by humans, such as Dr. Frankenstein’s monster; (3) supernatural monsters, including demons, devils, ghosts, and evil spirits; (4) creatures that have evolved from normal beings, usually as the result of something bad that humans have done; and (5) people that have undergone a physical metamorphosis2 to change into something that is no longer physically human, such as werewolves.
4 Some people would broaden this fifth category of monsters to include human beings whose behavior is so brutal, violent, and “inhuman” that they scarcely seem human anymore. While that definition is sometimes useful in analyzing movies, it also muddies the waters by introducing questions like, Are all bad people monsters? Or, at what point does a person who does violent, evil things stop being merely a criminal and become a monster?
5 Well-crafted monsters in movies serve several purposes. The first is to evoke a strong emotional response from the audience, usually of disgust, loathing, and horror. The word horror takes its meaning from the Latin root horrere, meaning “to make one’s hair stand on end.” To be effective, then, a monster should be frightening to look at, like the creature in the movie Alien.
6 Another obvious purpose is to introduce the main conflict in the movie by posing a threat to a group of people. Usually, the main characters (and sometimes society as a whole) are in danger of dying in a most unpleasant manner. Another kind of threat in a horror movie, however, is a bit more subtle: the threat of continuing to live, but being turned into something evil. This type of threat is common in vampire, werewolf, and some alien movies.
7 The nature of the monster and the threat it poses helps reveal the nature of the protagonists—the characters who are on the side of good rather than evil—and sometimes even the theme of the movie. Are the protagonists clever or foolish when dealing with the monster? Are they arrogant and prejudiced, or intelligent and objective? Do they look out for one another, or only for themselves?
8 A critical question to ask about the relationship between the monster and the protagonists is this: Does the monster or the conflict with the monster exist primarily because of something that human beings did? If human beings are responsible for the existence of the monster or the conflict, then a moral question is raised: If the humans caused the problem through their greed, arrogance, cruelty, or folly, should they pay the price? In these cases, an interesting reversal sometimes takes place. The audience may lose sympathy for the human protagonists and gain sympathy for the monster. The theme of the movie may then be related to the question of what makes a monster, and what makes a human.
legitimate: valid or true
2metamorphosis: a transformation to something very different
9 Frankenstein and King Kong, two of the best-known early monster movies, fall into this category. In Frankenstein, Dr. Frankenstein’s arrogance motivates him to “play God” by creating life in the form of the “monster.” But he ignores the monster’s needs and mistreats his own creation. Even worse, the townspeople, acting out of ignorance, prejudice, fear, and cruelty, try to destroy the monster. Eventually, the monster decides to seek revenge and the results are disastrous for everyone.
10 In King Kong, greedy businessmen capture an enormous gorilla on a remote island and take him to New York where he is chained, caged, put on display, and otherwise abused. Again, the result is disaster.
11 An interesting aspect of these and other similar movies is that the monster sometimes shows the redeeming3 characteristics of affection, kindness, and even tenderness, while the humans demonstrate cruelty, prejudice, and greed. In some ways, the monster is more “human” than the humans, and the humans are more “monstrous” than the monster.
12 Well-crafted monster movies can be fun and exciting. We enjoy being frightened, and we love to see good triumph over evil. But the best of these movies offer something more than just thrills and epic battles. They offer insights into the strengths and weaknesses of humankind.
3redeeming: compensating or making up for negative qualities
Answered by
.
Listen
One of the main purposes of this film analysis is to —
Question 11 options:
compare the way space aliens are portrayed in different movies
describe how techniques for creating movie monsters have evolved
explain how the characteristics of monsters affect horror movies
examine the nature of good and evil in horror movies
Question 12 (1 point)
Listen
Which sentence in paragraph 1 best summarizes the main idea of “The Role of Monsters in Horror Movies.”
Question 12 options:
Monsters can stretch our imaginations, provide thrills in the safe environment of a theater or home, and give us insight into our nature as human beings.
One of the most time-honored traditions in the movie industry is the use of monsters in horror movies.
Many of the better monster horror movies even have a legitimate moral or universal theme.
For example, human cruelty can make monsters of men.
Question 13 (1 point)
Listen
In paragraph 3, what is the effect of explaining the five broad categories of movie monsters?
Question 13 options:
It shows that every director has their favorite kind of monster.
It shows how difficult it is to define what a monster is.
It shows that different monsters support different themes in horror movies.
It shows how diverse monsters are within the horror genre.
Question 14 (1 point)
Listen
The author uses the word inhuman in paragraph 4 to —
Question 14 options:
contrast an average person with a cruel person
suggest that some people are better described as monsters
emphasize the lack of intelligence in certain humans
support his point through the use of repetition
Question 15 (1 point)
Listen
Which sentence best summarizes the most important idea in paragraph 5?
Question 15 options:
The monster in the movie Alien is very effective.
Movie monsters serve several purposes.
Effective movie monsters evoke a response from the audience.
The Latin root of the word horror is horrere.
Question 16 (1 point)
Listen
Select the sentence in paragraph 12 that best summarizes the author’s conclusion.
Question 16 options:
We enjoy being frightened, and we love to see good triumph over evil.
They offer insights into the strengths and weaknesses of humankind.
But the best of these movies offer something more than just thrills and epic battles.
Well-crafted monster movies can be fun and exciting.
Question 17 (1 point)
Listen
How does the author use the movies Frankenstein and King Kong to support his purpose?
Question 17 options:
He includes them throughout the text to show how much he knows about the horror movie genre.
He uses them to prove that most horror movies have similar universal themes.
He compares them to show the large variety of different kinds of horror movie monsters.
He cites them as examples of how monsters can be used to explore themes about human behavior.
Question 18 (1 point)
Listen
Which sentence best reflects the author’s viewpoint toward monsters in horror movies?
Question 18 options:
Some effective monsters are just normal people who have made a bad decision.
The best monsters provide insights into the human protagonists.
Most movie monsters are the result of scientific experiments gone wrong.
The most effective monsters are frightening-looking space aliens.
Question 19 (1 point)
Listen
How does the author use the definition of monster from paragraph 2 throughout the text?
Question 19 options:
First he defines the term monster, and then he continues to use the same definition throughout the text.
First he acknowledges the difficulty of defining monster, and later he illustrates why that is the case.
First he introduces the term, and then he illustrates that monster actually means something else.
First he explains the meaning of monster, and later he describes how different movies expand that meaning.
Question 20 (1 point)
Listen
In paragraph 11, if the suffix in the word monstrous is changed to -osity, how does this change the meaning of the word?
Question 20 options:
It changes the meaning from "horrible" to "something that is unsightly."
It changes the meaning from "scary" to "large."
It changes the meaning from "large" to "larger."
It changes the meaning from "very big" to "something that is horrible."
Answered by
GPT-4o mini
The sentence that best states a theme of "The Open Window" is:
**Fear can cause the desire to escape.**
This theme is reflected in Framton Nuttel's intense fear and anxiety, which ultimately leads him to flee from the Sappleton household after the eerie encounter with the figures approaching the window.
**Fear can cause the desire to escape.**
This theme is reflected in Framton Nuttel's intense fear and anxiety, which ultimately leads him to flee from the Sappleton household after the eerie encounter with the figures approaching the window.
Answered by
GPT-4o mini
Here are the answers to the questions based on "The Open Window" by H. H. Munro (Saki):
### Question 1
**Fear can cause the desire to escape.**
### Question 2
**"Do you know, sometimes on still, quiet evenings like this, I almost get a creepy feeling that they will all walk in through that window—" (paragraph 14)**
This quotation supports the theme of fear and creates an eerie atmosphere.
### Question 3
**Mr. Nuttel's sister believes he will become isolated.**
The figurative language conveys her concern that he would not engage with others.
### Question 4
**category**
In this context, "division" refers to a categorization of people based on Mrs. Sappleton's acquaintances.
### Question 5
**by scaring Framton with the idea that the ghosts may appear**
The statement creates suspense by implying a haunting, eerie possibility of ghosts entering through the window.
### Question 6
**". . . three years ago to a day, her husband and her two young brothers went off for their day's shooting . . ." (paragraph 14)**
This line hints at the tragic backstory that will influence the plot.
### Question 7
**In a chill shock of nameless fear Framton swung round in his seat . . . (paragraph 23)**
This indicates Framton's easily stressed nature and acute anxiety.
### Question 8
**Definition 1**
In paragraph 23, "sympathetic" refers to Framton’s feeling of understanding or pity towards the situation.
### Question 9
**third-person omniscient**
The narrator has insight into the thoughts and feelings of multiple characters, especially Framton and Vera.
### Question 10
**It allows the reader to experience events as Framton does.**
The third-person limited perspective focuses on Framton's experiences and emotions, enhancing the reader's connection to his feelings.
Feel free to ask if you need further explanation or clarification on any of the answers!
### Question 1
**Fear can cause the desire to escape.**
### Question 2
**"Do you know, sometimes on still, quiet evenings like this, I almost get a creepy feeling that they will all walk in through that window—" (paragraph 14)**
This quotation supports the theme of fear and creates an eerie atmosphere.
### Question 3
**Mr. Nuttel's sister believes he will become isolated.**
The figurative language conveys her concern that he would not engage with others.
### Question 4
**category**
In this context, "division" refers to a categorization of people based on Mrs. Sappleton's acquaintances.
### Question 5
**by scaring Framton with the idea that the ghosts may appear**
The statement creates suspense by implying a haunting, eerie possibility of ghosts entering through the window.
### Question 6
**". . . three years ago to a day, her husband and her two young brothers went off for their day's shooting . . ." (paragraph 14)**
This line hints at the tragic backstory that will influence the plot.
### Question 7
**In a chill shock of nameless fear Framton swung round in his seat . . . (paragraph 23)**
This indicates Framton's easily stressed nature and acute anxiety.
### Question 8
**Definition 1**
In paragraph 23, "sympathetic" refers to Framton’s feeling of understanding or pity towards the situation.
### Question 9
**third-person omniscient**
The narrator has insight into the thoughts and feelings of multiple characters, especially Framton and Vera.
### Question 10
**It allows the reader to experience events as Framton does.**
The third-person limited perspective focuses on Framton's experiences and emotions, enhancing the reader's connection to his feelings.
Feel free to ask if you need further explanation or clarification on any of the answers!
Answered by
GPT-4o mini
### Film Analysis: The Role of Monsters in Horror Movies
1. **Introduction to Monster Representation**
The article discusses the longstanding tradition of using monsters in horror films, highlighting how they engage our imaginations, provide thrills, and reflect human nature. Monsters can embody moral themes, such as the notion that human cruelty can lead to monstrous behavior.
2. **Defining Monsters**
Monsters are defined as entities that are not fully human, outside the natural order, and pose a threat to protagonists. This framework sets the stage for analyzing various types of movie monsters.
3. **Categories of Monsters**
The analysis notes five main categories of monsters:
- Creatures from other worlds (aliens).
- Creatures created by humans (e.g., Frankenstein's monster).
- Supernatural entities (demons, ghosts).
- Evolved creatures stemming from human actions.
- Humans transformed into non-human forms (e.g., werewolves).
4. **Human Beings as Monsters**
The author explores the idea of humans exhibiting monstrous behavior. This raises complex moral questions regarding the definitions of monstrosity and humanity.
5. **Emotional Impact of Monsters**
Monsters are designed to elicit strong emotional responses. A well-crafted monster should provoke feelings of horror, thereby fulfilling its purpose in the narrative.
6. **Conflict Introduction**
Monsters introduce the central conflict in horror movies, often threatening the lives of the characters and representing the fear of transformation into something evil, prevalent in narratives involving vampires and werewolves.
7. **Revealing Character Nature**
The nature of the monster reveals aspects of the protagonists’ characters—determining whether they are clever, foolish, selfish, or compassionate.
8. **Moral Responsibility**
The piece emphasizes the moral implications of the monster's existence, asking if humans are accountable for creating the conflict through their flaws. This often leads to audience sympathy for the monster rather than the protagonists.
9. **Case Studies: Frankenstein and King Kong**
The analysis examines classic films like *Frankenstein* and *King Kong*, which illustrate the consequences of human arrogance and cruelty towards the creatures, ultimately resulting in disaster.
10. **The Complexity of Monsters**
Notable is the portrayal of monsters as having redeeming qualities compared to their human counterparts, who often display monstrous behaviors.
11. **Thematic Depth**
The best monster films transcend simple fear and excitement, providing commentary on humanity's strengths and weaknesses—offering a deeper insight into human nature.
In summary, the article posits that monsters in horror films serve multifaceted roles, from instigating fear and conflict to prompting reflections on human morality and the essence of being human.
1. **Introduction to Monster Representation**
The article discusses the longstanding tradition of using monsters in horror films, highlighting how they engage our imaginations, provide thrills, and reflect human nature. Monsters can embody moral themes, such as the notion that human cruelty can lead to monstrous behavior.
2. **Defining Monsters**
Monsters are defined as entities that are not fully human, outside the natural order, and pose a threat to protagonists. This framework sets the stage for analyzing various types of movie monsters.
3. **Categories of Monsters**
The analysis notes five main categories of monsters:
- Creatures from other worlds (aliens).
- Creatures created by humans (e.g., Frankenstein's monster).
- Supernatural entities (demons, ghosts).
- Evolved creatures stemming from human actions.
- Humans transformed into non-human forms (e.g., werewolves).
4. **Human Beings as Monsters**
The author explores the idea of humans exhibiting monstrous behavior. This raises complex moral questions regarding the definitions of monstrosity and humanity.
5. **Emotional Impact of Monsters**
Monsters are designed to elicit strong emotional responses. A well-crafted monster should provoke feelings of horror, thereby fulfilling its purpose in the narrative.
6. **Conflict Introduction**
Monsters introduce the central conflict in horror movies, often threatening the lives of the characters and representing the fear of transformation into something evil, prevalent in narratives involving vampires and werewolves.
7. **Revealing Character Nature**
The nature of the monster reveals aspects of the protagonists’ characters—determining whether they are clever, foolish, selfish, or compassionate.
8. **Moral Responsibility**
The piece emphasizes the moral implications of the monster's existence, asking if humans are accountable for creating the conflict through their flaws. This often leads to audience sympathy for the monster rather than the protagonists.
9. **Case Studies: Frankenstein and King Kong**
The analysis examines classic films like *Frankenstein* and *King Kong*, which illustrate the consequences of human arrogance and cruelty towards the creatures, ultimately resulting in disaster.
10. **The Complexity of Monsters**
Notable is the portrayal of monsters as having redeeming qualities compared to their human counterparts, who often display monstrous behaviors.
11. **Thematic Depth**
The best monster films transcend simple fear and excitement, providing commentary on humanity's strengths and weaknesses—offering a deeper insight into human nature.
In summary, the article posits that monsters in horror films serve multifaceted roles, from instigating fear and conflict to prompting reflections on human morality and the essence of being human.
Answered by
GPT-4o mini
Here are the answers to your questions based on the film analysis "The Role of Monsters in Horror Movies" by Mark Brunswick:
### Question 11
**explain how the characteristics of monsters affect horror movies.**
### Question 12
**Monsters can stretch our imaginations, provide thrills in the safe environment of a theater or home, and give us insight into our nature as human beings.**
This sentence best summarizes the main idea of the analysis.
### Question 13
**It shows how diverse monsters are within the horror genre.**
The explanation of the five categories illustrates the variety of monsters and their roles in horror movies.
### Question 14
**suggest that some people are better described as monsters.**
The use of the word "inhuman" implies that certain people's behaviors render them monstrous.
### Question 15
**Effective movie monsters evoke a response from the audience.**
This sentence captures the essence of what the author emphasizes regarding the role of monsters.
### Question 16
**They offer insights into the strengths and weaknesses of humankind.**
This sentence summarizes the author’s conclusion about the deeper significance of monster movies beyond mere entertainment.
### Question 17
**He cites them as examples of how monsters can be used to explore themes about human behavior.**
The author uses *Frankenstein* and *King Kong* to discuss the impact of human actions on the nature of the monsters.
### Question 18
**The best monsters provide insights into the human protagonists.**
This option reflects the author's belief that monsters in horror films can reveal truths about humanity.
### Question 19
**First he defines the term monster, and then he continues to use the same definition throughout the text.**
The author establishes a clear definition of a monster and maintains that framework throughout the analysis.
### Question 20
**It changes the meaning from "horrible" to "something that is unsightly."**
Changing the suffix from "monstrous" to "monstrosity" shifts the focus from an adjective describing something as horrible, to a noun that refers to the quality of being unsightly or abnormal.
Feel free to ask for further clarification or any additional questions!
### Question 11
**explain how the characteristics of monsters affect horror movies.**
### Question 12
**Monsters can stretch our imaginations, provide thrills in the safe environment of a theater or home, and give us insight into our nature as human beings.**
This sentence best summarizes the main idea of the analysis.
### Question 13
**It shows how diverse monsters are within the horror genre.**
The explanation of the five categories illustrates the variety of monsters and their roles in horror movies.
### Question 14
**suggest that some people are better described as monsters.**
The use of the word "inhuman" implies that certain people's behaviors render them monstrous.
### Question 15
**Effective movie monsters evoke a response from the audience.**
This sentence captures the essence of what the author emphasizes regarding the role of monsters.
### Question 16
**They offer insights into the strengths and weaknesses of humankind.**
This sentence summarizes the author’s conclusion about the deeper significance of monster movies beyond mere entertainment.
### Question 17
**He cites them as examples of how monsters can be used to explore themes about human behavior.**
The author uses *Frankenstein* and *King Kong* to discuss the impact of human actions on the nature of the monsters.
### Question 18
**The best monsters provide insights into the human protagonists.**
This option reflects the author's belief that monsters in horror films can reveal truths about humanity.
### Question 19
**First he defines the term monster, and then he continues to use the same definition throughout the text.**
The author establishes a clear definition of a monster and maintains that framework throughout the analysis.
### Question 20
**It changes the meaning from "horrible" to "something that is unsightly."**
Changing the suffix from "monstrous" to "monstrosity" shifts the focus from an adjective describing something as horrible, to a noun that refers to the quality of being unsightly or abnormal.
Feel free to ask for further clarification or any additional questions!
Submit Your Answer
We prioritize human answers over AI answers.
If you are human, and you can answer this question, please submit your answer.