Collection 2 Cumulative Assessment Grade 8

Analyzing Text: Literature

Directions Read the following excerpt from a short story. Then answer the questions that follow.

In this excerpt, Washington Irving describes the town of Sleepy Hollow and its schoolmaster, Ichabod Crane. At the end of this classic American tale, Crane is chased out of town by the Headless Horseman.

from "The Legend of Sleepy Hollow"
by Washington Irving

1		From the listless repose of the place, and the peculiar character of its inhabitants, who are descendants from the original Dutch settlers, this sequestered glen has long been known by the name of SLEEPY HOLLOW, and its rustic lads are called the Sleepy Hollow Boys throughout all the neighboring country. A drowsy, dreamy influence seems to hang over the land, and to pervade the very atmosphere. Some say that the place was bewitched by a High German doctor, during the early days of the settlement; others, that an old Indian chief, the prophet or wizard of his tribe, held his powwows there before the country was discovered by Master Hendrick Hudson. Certain it is, the place still continues under the sway of some witching power, that holds a spell over the minds of the good people, causing them to walk in a continual reverie. They are given to all kinds of marvelous beliefs; are subject to trances and visions; and frequently see strange sights, and hear music and voices in the air. The whole neighborhood abounds with local tales, haunted spots, and twilight superstitions; stars shoot and meteors glare oftener across the valley than in any other part of the country; and the nightmare, with her whole nine fold, seems to make it the favorite scene of her gambols.
2		The dominant spirit, however, that haunts this enchanted region, and seems to be commander-in-chief of all the powers of the air, is the apparition of a figure on horseback without a head. It is said by some to be the ghost of a Hessian trooper, whose head had been carried away by a cannon-ball, in some nameless battle during the revolutionary war; and who is ever and anon seen by the country folk, hurrying along in the gloom of night, as if on the wings of the wind. His haunts are not confined to the valley, but extend at times to the adjacent roads, and especially to the vicinity of a church that is at no great distance. Indeed, certain of the most authentic historians of those parts, who have been careful in collecting and collating the floating facts concerning this spectre, allege that, the body of the trooper having been buried in the churchyard, the ghost rides forth to the scene of battle in nightly quest of his head; and that the rushing speed with which he sometimes passes along the hollow, like a midnight blast, is owing to his being belated, and in a hurry to get back to the churchyard before daybreak.
3		Such is the general purport of this legendary superstition, which has furnished materials for many a wild story in that region of shadows; and the spectre is known at all the country firesides by the name of The Headless Horseman of Sleepy Hollow.
4		It is remarkable that the visionary propensity I have mentioned is not confined to the native inhabitants of the valley, but is unconsciously imbibed by every one who resides there for a time. However wide awake they may have been before they entered that sleepy region, they are sure, in a little time, to inhale the witching influence of the air, and begin to grow imaginative—to dream dreams, and see apparitions.…
5		In this by-place of nature there abode, in a remote period of American history, that is to say, some thirty years since, a worthy wight1 of the name of Ichabod Crane; who sojourned, or, as he expressed it, "tarried,"2 in Sleepy Hollow, for the purpose of instructing the children of the vicinity. He was a native of Connecticut: a state which supplies the Union with pioneers for the mind as well as for the forest, and sends forth yearly its legions of frontier woodmen and country schoolmasters. The cognomen of Crane was not inapplicable to his person. He was tall, but exceedingly lank, with narrow shoulders, long arms and legs, hands that dangled a mile out of his sleeves, feet that might have served for shovels, and his whole frame most loosely hung together. His head was small, and flat at top, with huge ears, large green glassy eyes, and a long snipe nose, so that it looked like a weathercock perched upon his spindle neck, to tell which way the wind blew. To see him striding along the profile of a hill on a windy day, with his clothes bagging and fluttering about him, one might have mistaken him for the genius of famine descending upon the earth, or some scarecrow eloped from a cornfield.

________________
1	wight: a Middle English word for "a living thing" or "a human being."
2	tarried: to stay longer than expected.

____	1.	In paragraph 1, how does the narrator's description of the residents of Sleepy Hollow build suspense?

A	The narrator portrays them as panicky and terrified, which suggests that something horrible happened to them in the past.	
B	The narrator portrays them as angry and intolerant, which suggests that someone new might come to town to help them change their ways.	
C	The narrator portrays them as dreamy and superstitious, which suggests that something magical or supernatural might happen later.	
D	The narrator portrays them as evil and frightening, which suggests that something dark and disturbing might happen later.	

____	2.	In paragraphs 2 and 3, what does the description of The Headless Horsemen reveal about the town of Sleepy Hollow?

A	It reveals that the town is known for creating and promoting fantastic, supernatural stories.	
B	It reveals that the town is fascinated by and known for this headless spectre, who will probably become important later in the story.	
C	It reveals that the town does not understand the many ghosts that haunt their churchyard.	
D	It reveals that the town is anxious to learn about this dominant spirit so that they can figure out how to drive him from their town.	

____	3.	What does paragraph 4 reveal about people who move to Sleepy Hollow? 

A	They may have claimed to be logical people before, but they soon reveal their true superstitions after living in Sleepy Hollow.	
B	They may have been very logical people before moving to Sleepy Hollow, but they soon become superstitious and imaginative after living there for a little while.	
C	They may have been superstitious before, but they soon discover that they were never as superstitious as the townspeople of Sleepy Hollow.	
D	They may have thought that they were different from the townspeople, but by living in Sleepy Hollow they realize that they were always like the townspeople.	

____	4.	Which of the following sentences shows the narrator's point of view?

A	"Some say that the place was bewitched by a High German doctor, during the early days of the settlement…"	
B	"The whole neighborhood abounds with local tales, haunted spots, and twilight superstitions…"	
C	"The dominant spirit, however, that haunts this enchanted region, and seems to be commander-in-chief of all the powers of the air, is the apparition of a figure on horseback without a head."	
D	"It is remarkable that the visionary propensity I have mentioned is not confined to the native inhabitants of the valley, but is unconsciously imbibed by every one who resides there for a time."	

____	5.	In paragraph 5, what does the phrase "who sojourned, or, as he expressed it, 'tarried,'" suggest?

A	This phrase suggests that the narrator sees Crane's stay in Sleepy Hollow as more permanent that Crane does.	
B	This phrase suggests that the narrator does not understand Crane's motives for staying in Sleepy Hollow.	
C	This phrase suggests that the narrator is confused by Crane's old-fashioned speech patterns.	
D	This phrase suggests that Crane will be providing his point of view throughout the rest of the story.	

____	6.	How does the word choice in the last two sentences of paragraph 5 create foreshadowing?

A	Details like "a hill on a windy day" set the scene and suggest that the main action of the story will happen soon.	
B	Details like "some scarecrow eloped" build on the earlier horror imagery and suggests that Crane may have become a victim of Sleepy Hollow's ghost.	
C	Details like "his clothes bagging and fluttering" create a clear image of Crane and suggests that he will become one of the Sleepy Hollow Boys.	
D	Details like "see him striding along" portray Crane as confidence and suggest that he will be a heroic character in this story.	

Directions Read the following dramatized version of "The Legend of Sleepy Hollow." Then answer the questions that follow.

from "The Legend of Sleepy Hollow"
Dramatized by Kathryn Schultz Miller

1	CHARACTERS
ICHABOD CRANE, the lanky pompous schoolteacher from Connecticut
	KATRINA, a coy and plump young charmer, the subject of Ichabod's and Brom's adoring affections
	BROM BONES, Ichabod's roaring, roistering rival
	WASHINGTON, also plays Storyteller, Van Tassel, Sleepy Hollow Boy
	IRVING, also plays Storyteller, Van Ripper, Headless Horseman, Sleepy Hollow Boy
	PETER, also plays Storyteller, Sleepy Hollow Boy
	EMILY, also plays Storyteller, Lady in Tea Scene
	CHARLOTTE, also plays Storyteller, Lady in Tea Scene
	JUDITH, also plays Storyteller, Lady in Tea Scene

2	TIME: Approximately 1795.

3	PLACE: Sleepy Hollow, a rustic glen near Tarry Town, New York.

4	AT RISE: We hear frightening foreboding music as trees are moved around in seeming chaos onstage. We see the ghoulish faces in the barks and leaves of the trees. When music fades, STORYTELLERS look out from behind trees, then come forward to begin telling their story.

5	WASHINGTON. In a remote period of American history…

6	EMILY. …north of what we know now as New York City…

7	CHARLOTTE. …along eastern shores of the Hudson River…

8	PETER. …there was a tiny village known as Tarry Town.

9	JUDITH. And not far from this village…

10	WASHINGTON. …perhaps about three miles…

11	IRVING. …there is a little valley which is one of the quietest places in the whole world.

12	EMILY. A small brook glides lazily through…

13	CHARLOTTE. …with just enough murmur to lull one to sleep…

14	JUDITH. …and the occasional whistle of a quail…

15	PETER. …or tapping of a woodpecker…

16	JUDITH. …is almost the only sound that ever breaks upon the drowsy…

17	IRVING and WASHINGTON. …dreamy…

18	IRVING. …atmosphere.

19	WASHINGTON. This tiny village has long been called by Dutch settlers who live there as…

20	ALL. …Sleepy Hollow.

21	CHARLOTTE. Ahhh, such a peaceful spot…

22	(Music swells as we see the trees transform from stark, black objects, to a warm, colorful village. When the transformation is complete they hang a rustic sign on one tree and place a bench beneath it. The sign is painted with the words: "Tarry Town Tavern." VAN TASSEL sits with hat down over eyes, back resting on the tree, motionless, chewing on a pipe.)

23	CHARLOTTE. The men who lived here were called the Sleepy Hollow Boys and were known throughout the land for their tendency to linger around the village tavern on market days.

24	PETER/SLEEPY HOLLOW BOY. Van Tassel! Why Baltus, you sly old dog! Playin' hooky again, I see. What in the world's becoming of you?

25	WASHINGTON/VAN TASSEL. The wife says I'm going to the dogs.

26	SLEEPY HOLLOW BOY. She's right, you know.

27	VAN TASSEL. I hope so.

28	EMILY. A drowsy, dreamy influence seemed to hang over Sleepy Hollow and pervade the very atmosphere. (MEN lean together, SLEEPY HOLLOW BOY imitating VAN TASSEL, with his hat low and a pipe.)

29	SLEEPY (after a long pause). So how's the wife?

30	VAN TASSEL. Cookin'.

31	SLEEPY. How's your cattle?

32	VAN TASSEL. Eatin'.

33	SLEEPY. How's your hens?

34	VAN TASSEL. Layin'.

35	SLEEPY. How's your apples?

36	VAN TASSEL. Fallin'.

37	SLEEPY. How's your cider?

38	VAN TASSEL. Brewin'.

39	SLEEPY (with lift of hat). How's that fine young daughter of yours, Katrina?

40	VAN TASSEL. The Lord only knows.

41	JUDITH. Sleepy Hollow was a peaceful spot where time seemed to stand still. The listless inhabitants of the place did things the old fashioned way.

42	CHARLOTTE. They didn't like to see things change. (They exit.)

43	SLEEPY. Hear tell there's a new schoolmaster come to town. From Connecticut.

44	VAN TASSEL (looking out of hat). Humph. Connecticut.

45	SLEEPY. I hear he's a peculiar kind of fella.

46	VAN TASSEL. Humph.

47	SLEEPY. Readin' and writin', writin' and readin'. Never did know of any good come of it.

48	VAN TASSEL (agreeable). Humph.

49	SLEEPY. Schoolmaster…ha! What an easy life. Head work instead of back work. Bet he doesn't even know what hard work is. Not like us, eh? Not like us. Baltus… Baltus… (VAN TASSEL is asleep and replies with a snore. SLEEPY looks around, confiscates VAN TASSEL's hat and pipe, exits. MUSIC CUE #2.)

50	EMILY (to audience). The place had a bewitching power which caused all those who came to the region to become dreamy eyed and see strange sights!

51	(IRVING joins narration).

52	IRVING. Some say that the place was bewitched by a High German Doctor.

53	JUDTIH. Others, that an old Indian Chief, the prophet or wizard of his tribe, held his pow-wows there.

54	WASHINGTON (breaking in). I hear tell of a ghost on horseback…(He looks at her.)…without a head. He is often seen in these parts hurrying along in the gloom of the night.

55	PETER. As if on the wings of the wind!

56	IRVING. In nightly quest for his head. And the specter is known at all the campfires as the Headless Horseman of Sleepy Hollow.

57	(There is loud frightening music and a crack of thunder. ALL run to take cover behind trees. They peer cautiously from behind the trees and "see" HIM. Moving their heads together from left to right of the stage, they watch in frightened awe as HE passes from sight. Again there is a crack of thunder, a maniacal laugh. A period of calm, then the school bell changes the scene.)

58	CHARLOTTE. The new schoolmaster's name was Ichabod Crane.

59	(Enter ICHABOD. Begin lchabod theme music.)

60	WASHINGTON (hands ICHABOD a jacket). He was tall, but exceedingly lank.

61	PETER. With narrow shoulders.

62	EMILY. Long arms and legs. (ICHABOD turns to see himself in the "mirror.")

63	CHARLOTTE. Hands that dangled a mile out of his sleeves.

64	IRVING. Feet that might have served as shovels. (ICHABOD shines his shoes with great difficulty, since his feet are so long and far away from his hands.)

65	PETER. His head was small and flat on top…(Hands him a hat.)…with huge ears…

66	WASHINGTON. Large, green, glassy eyes.

67	JUDITH. And a long snipe nose that looked like a weathervane perched upon his spindle neck, to tell which way the wind blew. (They blow toward him as he cocks his head from side to side, admiring himself. He seems to be unknowingly moved by the wind.)

68	PETER. To see him striding along the profile of a hill on a windy day…

69	EMILY. With his clothes bagging and fluttering about him… (She turns him almost as if dancing the minuet while he takes great pride in his appointments. They turn him out with a little push—send him on his way.)

70	JUDITH. You might have mistook him for a scarecrow who escaped from a cornfield. (ICHABOD moves on his way with a book in hand, whistling absent-mindedly to himself. Ichabod theme music fades.)

Excerpt from The Legend of Sleepy Hollow dramatized by Kathryn Schultz Miller from the story by Washington Irving. Text copyright © 1994 by Kathryn Schultz Miller. Reprinted by permission of Dramatic Publishing. All rights reserved.

____	7.	How does the play reinterpret the setting of Irving's original story?

A	The play changes subtle aspects of the setting, like calling the village Tarry Town, but preserves the rest of the setting.	
B	The play emphasizes the quiet, peaceful characteristics of the setting that may have been too subtle in Irving's version.	
C	The play ignores Irving's inclusions of horror and focuses instead of how cheerful and inviting Tarry Town was for Crane.	
D	The play heightens Irving's understated horror elements by opening with "foreboding music," then quickly switching to friendly town life.	

____	8.	The play creates foreshadowing by

A	having the narrators finish each other's sentences.	
B	showing the conversation between Sleepy Hollow Boy and Van Tassel.	
C	displaying the Headless Horseman and then immediately introducing Ichabod Crane.	
D	allowing one of the narrators to be named Irving and another to be Washington.	

____	9.	How does the play emphasize Crane as a traditional outsider character?

A	First, the narrators describe how Crane came to the town, then he clumsily walks on stage.	
B	First, other characters talk negatively about Crane, then the narrator's talk about him as he awkward attempts to fix his appearance.	
C	First, the narrators introduce the town itself, then characters discuss their lives, and finally Crane is introduced.	
D	First, other characters seem confused about who Crane is, then Crane appears and cannot seem to get the narrators' attention.	

Directions Answer the following questions about both versions of "The Legend of Sleepy Hollow."

____	10.	Which attitude or belief of the townspeople is revealed in the play but not the story?

A	They do not work very hard.	
B	They believe in ghosts and witches.	
C	They do not value reading and writing.	
D	They admire almost anyone or anything from Connecticut.	

____	11.	Which of the following BEST compares Ichabod Crane as portrayed in the play and in the story?

A	The stage directions in the play suggest that Crane thinks he is better than everyone else. The short story portrays Crane as sympathetic and a little pathetic.	
B	The narrators of the play do not fully characterize Crane. The narrator of the short story creates a detailed picture of Crane's physical and personal characteristics.	
C	The play suggests that Crane is welcomed into the town. The short story portrays Crane as more of an outsider.	
D	Both the play and the story characterize Crane in basically the same way.	

____	12.	How does the play recreate the mood of supernatural suspense that the short story establishes in paragraphs 2 and 3?

A	through the narrators' choppy and alternating dialogue, which uses most of Irving's original words 	
B	through the "AT RISE" music and visual stage effects, which create a more dramatic and obvious horror mood than the story	
C	through the actions of the characters on stage, which heightens the movement and personality of Sleepy Hollow	
D	through the humorous dialogue between the Sleepy Hollow Boy and Van Tassel, which illustrates the views in Sleepy Hollow	

Analyzing Text: Informational Text

Directions Read the following media analysis. Then answer the questions that follow.

"The Role of Monsters in Horror Movies"
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 legitimate 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 the monsters that we recognize. One convenient way to define monster is a being that is not human (or not fully human), 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 metamorphosis 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 any more. 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.
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 redeeming 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.

____	13.	One of the main purposes of this media analysis is to

A	analyze the nature of good and evil in the movie Frankenstein.	
B	compare the way space aliens are portrayed in different movies.	
C	describe how techniques for creating movie monsters have evolved.	
D	explain how the characteristics of monsters affect horror movies.	

____	14.	Which sentence from paragraph 1 BEST summarizes "The Role of Monsters in Horror Movies"?

A	“One of the most time-honored traditions in the movie industry is the use of monsters in horror movies.”	
B	“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.”	
C	“Many of the better monster horror movies even have a legitimate moral or universal theme.”	
D	“For example, human cruelty can make monsters of men.”	

____	15.	In paragraph 2, the author’s style can be described as using

A	precise language to explain complex ideas.	
B	informal word choice to simplify explanations.	
C	simple, conversational language to capture the readers' interest.	
D	figurative language to provide colorful descriptions.	

____	16.	In paragraph 3, what is the effect of explaining the five broad categories of movie monsters?

A	It shows the different roles that monsters play in horror movies.	
B	It shows the slightly different definitions of what a monster is.	
C	It shows how large and diverse monsters are within the horror genre.	
D	It shows how difficult it is to define what a monster is.	

____	17.	The author uses the word "inhuman" in paragraph 4 to

A	emphasize his point through the use of repetition.	
B	provide a contrast between an average person and a brutal, cruel person.	
C	contrast humans with the types of monsters he has described.	
D	emphasize the lack of intelligence in the humans he is describing.	

____	18.	Which sentence BEST summarizes the most important idea in paragraph 5?

A	Monsters serve several purposes.	
B	The Latin root of the word horror is "horrere."	
C	The monster in the movie Alien is very effective.	
D	Effective movie monsters evoke an audience response.	

____	19.	In paragraph 7, the author uses rhetorical questions

A	to highlight the similarities between different horror movie protagonists.	
B	to explore the types of monsters that confront horror movie protagonists.	
C	to give examples of the different types of horror movie protagonists.	
D	to show how horror movie protagonists change into monstrous characters.	

____	20.	Which sentence BEST summarizes the author's conclusion in paragraph 12?

A	"Well-crafted monster movies can be fun and exciting."	
B	"We enjoy being frightened, and we love to see good triumph over evil."	
C	"But the best of these movies offer something more than just thrills and epic battles."	
D	"They offer insights into the strengths and weaknesses of humankind."	

____	21.	How does the author use specific movies like Frankenstein and King Kong to support his purpose?

A	He contrasts them to show the large variety of different kinds of horror movie monsters.	
B	He compares them to highlight the similarities between monsters throughout the horror movie genre.	
C	He uses them to support the idea that horror movies can explore and challenge traditional definitions of monster.	
D	He includes them throughout the text to show how much he knows about the horror movie genre.	

____	22.	Which of the following sentences reflects the author's viewpoint toward monsters in horror movies?

A	The best monsters provide insights into the human protagonists.	
B	The most effective monsters are frightening-looking space aliens.	
C	Most movie monsters are the result of scientific experiments gone wrong.	
D	Some effective monsters are just normal people who have made a bad decision.	

____	23.	Which of the following statements contains the author's response to a counterargument?

A	"While that definition is sometimes useful in analyzing movies, it also muddies the waters by introducing questions like, Are all bad people monsters?"	
B	"To be effective, then, a monster should be frightening to look at, like the creature in Alien."	
C	"This type of threat is common in vampire, werewolf, and some alien movies."	
D	"The audience may lose sympathy for the human protagonists and gain sympathy for the monster."	

____	24.	How does the author use the definition of monster from paragraph 2 throughout the text?

A	First he defines the term monster and then he continues to use the same definition throughout the text.	
B	First he introduces the term, but later he illustrates that monster actually means something else.	
C	First he acknowledges the difficulty of defining monster and later he illustrates why that is the case.	
D	First he establishes a basic meaning for monster and later he describes how different movies explore or expand that meaning.	

Written Response

Directions Write two or three sentences to answer each question about the passages.

	25.	How does the play characterize Ichabod Crane for the audience? How might this be different from how Crane's views himself?

	26.	Summarize the author's argument in paragraphs 8 through 11 of "The Role of Monsters in Horror Movies." Include support from the paragraphs in your summary.

Vocabulary

Directions Use your knowledge of Latin suffixes and roots to answer the following questions.

____	27.	Which word uses the suffix -ian as it is used in historian in paragraph 2 of Irving's "The Legend of Sleepy Hollow"?

A	guardian	
B	median	
C	technician	
D	reptilian	

____	28.	The word cognonmen has the Latin root nomen, which means "name." Using this Latin root, what does the sentence "The cognomen of Crane was not inapplicable to his person" mean?

A	Crane had applied to change his name.	
B	Crane's name fit because he looked like a crane, which is a type of bird.	
C	Crane knew everyone's name in the village.	
D	Crane was knowledgeable about the origins of family names.	

____	29.	Which word uses the suffix -ance in the same way it is used in ignorance in paragraph 9 of "The Role of Monsters in Horror Movies"?

A	substance	
B	trance	
C	glance	
D	guidance	

Directions Use the thesaurus entries to answer the following questions.

____	30.	Study the thesaurus entry.

lank
adjective: thin; floppy, limp; lifeless

Which word is a synonym for the word lank in the following sentence?
"He was tall, but exceedingly lank, with narrow shoulders, long arms and legs, hands that dangled a mile out of his sleeves, feet that might have served for shovels, and his whole frame most loosely hung together."

A	thin	
B	floppy	
C	limp	
D	lifeless	

____	31.	Study the thesaurus entry.

response
noun: answer, reply; reaction; comeback

Which word is a synonym for the word response in the following sentence?
"The first purpose is to evoke a strong emotional response from the audience, usually of disgust, loathing, and horror."

A	answer	
B	reply	
C	reaction	
D	comeback	

____	32.	Study the thesaurus entry.

alien
adjective: outlandish; unknown
noun: extraterrestrial; foreign-born resident
transitive verb: estrange

Which word is a synonym for the word alien in the following sentence?
"This type of threat is common in vampire, werewolf, and some alien movies."

A	outlandish	
B	unknown	
C	extraterrestrial	
D	estrange