Question
What is a central, unifying idea an author tries to convey in literature?(1 point)
Responses
structure
structure
purpose
purpose
theme
theme
mood
What is source material?(1 point)
Responses
an inquiry that can be answered through study and investigation
an inquiry that can be answered through study and investigation
an idea, symbol, behavioral pattern, or type of character in a story that conveys a universal meaning
an idea, symbol, behavioral pattern, or type of character in a story that conveys a universal meaning
original or authoritative text or images an author uses for ideas and information
original or authoritative text or images an author uses for ideas and information
traditional beliefs, customs, stories, dances, and other art forms passed from generation to generation in a culture
What is the main reason an author might choose to transform source material?(1 point)
Responses
to change parts of the story they do not like
to change parts of the story they do not like
to make the older story more accessible to a new audience.
to make the older story more accessible to a new audience.
to rewrite the source material in a humorous way
to rewrite the source material in a humorous way
to bring less interesting stories to life
to bring less interesting stories to life
Why is it valuable to analyze how an author transforms source material? Select the two correct answers.(1 point)
Responses
to learn how society has grown over time
to learn how society has grown over time
to decide which story is better
to decide which story is better
to practice your analysis skills as you consider how the author adapts the source material
to practice your analysis skills as you consider how the author adapts the source material
to compare and contrast the two versions of the story
to compare and contrast the two versions of the story
to gain insight into the author’s creative process
Passage 1
Passage 2
Midsummer Night's Dream
by William Shakespeare
SCENE II. The Same. A Room in a Cottage
Enter QUINCE, SNUG, BOTTOM, FLUTE, SNOUT and STARVELING.
QUINCE.
Is all our company here?
BOTTOM.
You were best to call them generally, man by man, according to the scrip.
QUINCE.
Here is the scroll of every man’s name, which is thought fit through all Athens, to play in our interlude before the Duke and Duchess, on his wedding-day at night.
BOTTOM.
First, good Peter Quince, say what the play treats on; then read the names of the actors; and so grow to a point.
QUINCE.
Marry, our play is The most lamentable comedy and most cruel death of Pyramus and Thisbe.
BOTTOM.
A very good piece of work, I assure you, and a merry. Now, good Peter Quince, call forth your actors by the scroll. Masters, spread yourselves.
QUINCE.
Answer, as I call you. Nick Bottom, the weaver.
BOTTOM.
Ready. Name what part I am for, and proceed.
QUINCE.
You, Nick Bottom, are set down for Pyramus.
BOTTOM.
What is Pyramus—a lover, or a tyrant?
QUINCE.
A lover, that kills himself most gallantly for love.
BOTTOM.
That will ask some tears in the true performing of it. If I do it, let the audience look to their eyes. I will move storms; I will condole in some measure. To the rest—yet my chief humour is for a tyrant. I could play Ercles rarely, or a part to tear a cat in, to make all split.
The raging rocks
And shivering shocks
Shall break the locks
Of prison gates,
And Phibbus’ car
Shall shine from far,
And make and mar
The foolish Fates.
This was lofty. Now name the rest of the players. This is Ercles’ vein, a tyrant’s vein; a lover is more condoling.
QUINCE.
Francis Flute, the bellows-mender.
FLUTE.
Here, Peter Quince.
QUINCE.
Flute, you must take Thisbe on you.
FLUTE.
What is Thisbe? A wandering knight?
QUINCE.
It is the lady that Pyramus must love.
FLUTE.
Nay, faith, let not me play a woman. I have a beard coming.
QUINCE.
That’s all one. You shall play it in a mask, and you may speak as small as you will.
BOTTOM.
And I may hide my face, let me play Thisbe too. I’ll speak in a monstrous little voice; ‘Thisne, Thisne!’—‘Ah, Pyramus, my lover dear! thy Thisbe dear! and lady dear!’
QUINCE.
No, no, you must play Pyramus; and, Flute, you Thisbe.
BOTTOM.
Well, proceed.
QUINCE.
Robin Starveling, the tailor.
STARVELING.
Here, Peter Quince.
QUINCE.
Robin Starveling, you must play Thisbe’s mother.
Tom Snout, the tinker.
SNOUT
Here, Peter Quince.
QUINCE.
You, Pyramus’ father; myself, Thisbe’s father;
Snug, the joiner, you, the lion’s part. And, I hope here is a play fitted.
SNUG
Have you the lion’s part written? Pray you, if it be, give it me, for I am slow of study.
QUINCE.
You may do it extempore, for it is nothing but roaring.
BOTTOM.
Let me play the lion too. I will roar that I will do any man’s heart good to hear me. I will roar that I will make the Duke say ‘Let him roar again, let him roar again.’
QUINCE.
If you should do it too terribly, you would fright the Duchess and the ladies, that they would shriek; and that were enough to hang us all.
ALL
That would hang us every mother’s son.
BOTTOM.
I grant you, friends, if you should fright the ladies out of their wits, they would have no more discretion but to hang us. But I will aggravate my voice so, that I will roar you as gently as any sucking dove; I will roar you an ’twere any nightingale.
QUINCE.
You can play no part but Pyramus, for Pyramus is a sweet-faced man; a proper man as one shall see in a summer’s day; a most lovely gentleman-like man. Therefore you must needs play Pyramus.
BOTTOM.
Well, I will undertake it. What beard were I best to play it in?
QUINCE.
Why, what you will.
BOTTOM.
I will discharge it in either your straw-colour beard, your orange-tawny beard, your purple-in-grain beard, or your French-crown-colour beard, your perfect yellow.
QUINCE.
Some of your French crowns have no hair at all, and then you will play barefaced. But, masters, here are your parts, and I am to entreat you, request you, and desire you, to con them by tomorrow night; and meet me in the palace wood, a mile without the town, by moonlight; there will we rehearse, for if we meet in the city, we shall be dogg’d with company, and our devices known. In the meantime I will draw a bill of properties, such as our play wants. I pray you fail me not.
BOTTOM.
We will meet, and there we may rehearse most obscenely and courageously. Take pains, be perfect; adieu.
QUINCE.
At the Duke’s oak we meet.
BOTTOM.
Enough. Hold, or cut bow-strings.
From A Midsummer Night's Dream by William Shakespeare
Question
Use the passages to answer the question. Select Passage 1 and Passage 2.
How does Shakespeare’s diction differ from Ovid’s in the treatment of the story of Pyramus and Thisbe?
(1 point)
Responses
Shakespeare writes the story using mostly exposition.
Shakespeare writes the story using mostly exposition.
Ovid turns the story into a play.
Ovid turns the story into a play.
Shakespeare uses diction that draws attention to the story’s humor.
Shakespeare uses diction that draws attention to the story’s humor.
Ovid uses diction that draws attention to the story’s humor.
Ovid uses diction that draws attention to the story’s humor.
Responses
structure
structure
purpose
purpose
theme
theme
mood
What is source material?(1 point)
Responses
an inquiry that can be answered through study and investigation
an inquiry that can be answered through study and investigation
an idea, symbol, behavioral pattern, or type of character in a story that conveys a universal meaning
an idea, symbol, behavioral pattern, or type of character in a story that conveys a universal meaning
original or authoritative text or images an author uses for ideas and information
original or authoritative text or images an author uses for ideas and information
traditional beliefs, customs, stories, dances, and other art forms passed from generation to generation in a culture
What is the main reason an author might choose to transform source material?(1 point)
Responses
to change parts of the story they do not like
to change parts of the story they do not like
to make the older story more accessible to a new audience.
to make the older story more accessible to a new audience.
to rewrite the source material in a humorous way
to rewrite the source material in a humorous way
to bring less interesting stories to life
to bring less interesting stories to life
Why is it valuable to analyze how an author transforms source material? Select the two correct answers.(1 point)
Responses
to learn how society has grown over time
to learn how society has grown over time
to decide which story is better
to decide which story is better
to practice your analysis skills as you consider how the author adapts the source material
to practice your analysis skills as you consider how the author adapts the source material
to compare and contrast the two versions of the story
to compare and contrast the two versions of the story
to gain insight into the author’s creative process
Passage 1
Passage 2
Midsummer Night's Dream
by William Shakespeare
SCENE II. The Same. A Room in a Cottage
Enter QUINCE, SNUG, BOTTOM, FLUTE, SNOUT and STARVELING.
QUINCE.
Is all our company here?
BOTTOM.
You were best to call them generally, man by man, according to the scrip.
QUINCE.
Here is the scroll of every man’s name, which is thought fit through all Athens, to play in our interlude before the Duke and Duchess, on his wedding-day at night.
BOTTOM.
First, good Peter Quince, say what the play treats on; then read the names of the actors; and so grow to a point.
QUINCE.
Marry, our play is The most lamentable comedy and most cruel death of Pyramus and Thisbe.
BOTTOM.
A very good piece of work, I assure you, and a merry. Now, good Peter Quince, call forth your actors by the scroll. Masters, spread yourselves.
QUINCE.
Answer, as I call you. Nick Bottom, the weaver.
BOTTOM.
Ready. Name what part I am for, and proceed.
QUINCE.
You, Nick Bottom, are set down for Pyramus.
BOTTOM.
What is Pyramus—a lover, or a tyrant?
QUINCE.
A lover, that kills himself most gallantly for love.
BOTTOM.
That will ask some tears in the true performing of it. If I do it, let the audience look to their eyes. I will move storms; I will condole in some measure. To the rest—yet my chief humour is for a tyrant. I could play Ercles rarely, or a part to tear a cat in, to make all split.
The raging rocks
And shivering shocks
Shall break the locks
Of prison gates,
And Phibbus’ car
Shall shine from far,
And make and mar
The foolish Fates.
This was lofty. Now name the rest of the players. This is Ercles’ vein, a tyrant’s vein; a lover is more condoling.
QUINCE.
Francis Flute, the bellows-mender.
FLUTE.
Here, Peter Quince.
QUINCE.
Flute, you must take Thisbe on you.
FLUTE.
What is Thisbe? A wandering knight?
QUINCE.
It is the lady that Pyramus must love.
FLUTE.
Nay, faith, let not me play a woman. I have a beard coming.
QUINCE.
That’s all one. You shall play it in a mask, and you may speak as small as you will.
BOTTOM.
And I may hide my face, let me play Thisbe too. I’ll speak in a monstrous little voice; ‘Thisne, Thisne!’—‘Ah, Pyramus, my lover dear! thy Thisbe dear! and lady dear!’
QUINCE.
No, no, you must play Pyramus; and, Flute, you Thisbe.
BOTTOM.
Well, proceed.
QUINCE.
Robin Starveling, the tailor.
STARVELING.
Here, Peter Quince.
QUINCE.
Robin Starveling, you must play Thisbe’s mother.
Tom Snout, the tinker.
SNOUT
Here, Peter Quince.
QUINCE.
You, Pyramus’ father; myself, Thisbe’s father;
Snug, the joiner, you, the lion’s part. And, I hope here is a play fitted.
SNUG
Have you the lion’s part written? Pray you, if it be, give it me, for I am slow of study.
QUINCE.
You may do it extempore, for it is nothing but roaring.
BOTTOM.
Let me play the lion too. I will roar that I will do any man’s heart good to hear me. I will roar that I will make the Duke say ‘Let him roar again, let him roar again.’
QUINCE.
If you should do it too terribly, you would fright the Duchess and the ladies, that they would shriek; and that were enough to hang us all.
ALL
That would hang us every mother’s son.
BOTTOM.
I grant you, friends, if you should fright the ladies out of their wits, they would have no more discretion but to hang us. But I will aggravate my voice so, that I will roar you as gently as any sucking dove; I will roar you an ’twere any nightingale.
QUINCE.
You can play no part but Pyramus, for Pyramus is a sweet-faced man; a proper man as one shall see in a summer’s day; a most lovely gentleman-like man. Therefore you must needs play Pyramus.
BOTTOM.
Well, I will undertake it. What beard were I best to play it in?
QUINCE.
Why, what you will.
BOTTOM.
I will discharge it in either your straw-colour beard, your orange-tawny beard, your purple-in-grain beard, or your French-crown-colour beard, your perfect yellow.
QUINCE.
Some of your French crowns have no hair at all, and then you will play barefaced. But, masters, here are your parts, and I am to entreat you, request you, and desire you, to con them by tomorrow night; and meet me in the palace wood, a mile without the town, by moonlight; there will we rehearse, for if we meet in the city, we shall be dogg’d with company, and our devices known. In the meantime I will draw a bill of properties, such as our play wants. I pray you fail me not.
BOTTOM.
We will meet, and there we may rehearse most obscenely and courageously. Take pains, be perfect; adieu.
QUINCE.
At the Duke’s oak we meet.
BOTTOM.
Enough. Hold, or cut bow-strings.
From A Midsummer Night's Dream by William Shakespeare
Question
Use the passages to answer the question. Select Passage 1 and Passage 2.
How does Shakespeare’s diction differ from Ovid’s in the treatment of the story of Pyramus and Thisbe?
(1 point)
Responses
Shakespeare writes the story using mostly exposition.
Shakespeare writes the story using mostly exposition.
Ovid turns the story into a play.
Ovid turns the story into a play.
Shakespeare uses diction that draws attention to the story’s humor.
Shakespeare uses diction that draws attention to the story’s humor.
Ovid uses diction that draws attention to the story’s humor.
Ovid uses diction that draws attention to the story’s humor.
Answers
GPT-4o mini
Here are the answers based on the questions you provided:
1. **What is a central, unifying idea an author tries to convey in literature?**
- **Answer:** theme
2. **What is source material?**
- **Answer:** original or authoritative text or images an author uses for ideas and information
3. **What is the main reason an author might choose to transform source material?**
- **Answer:** to make the older story more accessible to a new audience.
4. **Why is it valuable to analyze how an author transforms source material? Select the two correct answers.**
- **Answer:**
- to practice your analysis skills as you consider how the author adapts the source material
- to gain insight into the author’s creative process
5. **How does Shakespeare’s diction differ from Ovid’s in the treatment of the story of Pyramus and Thisbe?**
- **Answer:** Shakespeare uses diction that draws attention to the story’s humor.
If you have any more questions or need further clarification, feel free to ask!
1. **What is a central, unifying idea an author tries to convey in literature?**
- **Answer:** theme
2. **What is source material?**
- **Answer:** original or authoritative text or images an author uses for ideas and information
3. **What is the main reason an author might choose to transform source material?**
- **Answer:** to make the older story more accessible to a new audience.
4. **Why is it valuable to analyze how an author transforms source material? Select the two correct answers.**
- **Answer:**
- to practice your analysis skills as you consider how the author adapts the source material
- to gain insight into the author’s creative process
5. **How does Shakespeare’s diction differ from Ovid’s in the treatment of the story of Pyramus and Thisbe?**
- **Answer:** Shakespeare uses diction that draws attention to the story’s humor.
If you have any more questions or need further clarification, feel free to ask!