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(Version 2) 2025-2026 Unit 2 Common Assessment: The Thrill of Horror (10/17/2024)

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Last updated about 1 month ago
34 questions
Note from the author:
This test will assess the skills contained in Unit 2. The test consists of different types of items, so it’s important to read the directions for each one carefully. All items on this test include a literary text, an informational text, or an audio file that you must analyze. Types of items that you will encounter on this test include
  • multiple-choice items that ask you to select one correct response from the options provided; and
  • short constructed-response items that ask you to write a few sentences; and
  • technology-enhanced items that ask you to complete a table or chart, select text in a paragraph, fill in the blank, or select multiple answers; and
  • two-part items that ask for a response in Part A and support for that response in Part B.
This test will assess the skills contained in Unit 2. The test consists of different types of items, so it’s important to read the directions for each one carefully. All items on this test include a literary text, an informational text, or an audio file that you must analyze. Types of items that you will encounter on this test include
  • multiple-choice items that ask you to select one correct response from the options provided; and
  • short constructed-response items that ask you to write a few sentences; and
  • technology-enhanced items that ask you to complete a table or chart, select text in a paragraph, fill in the blank, or select multiple answers; and
  • two-part items that ask for a response in Part A and support for that response in Part B.
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Passage 1:

Antigonish (I met a man who wasn’t there)

by Hughes Mearns

Yesterday, upon the stair, I met a man who wasn’t there He wasn’t there again today I wish, I wish he’d go away . . .

(5) When I came home last night at three The man was waiting there for me But when I looked around the hall I couldn’t see him there at all! Go away, go away, don’t you come back any more!
(10) Go away, go away, and please don’t slam the door . . . (slam!)
Last night I saw upon the stair A little man who wasn’t there He wasn’t there again today Oh, how I wish he’d go away . . .
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Passage 2 Audio Clip: Antigonish

read by Jonathan Baca
Listen to this adaptation of Hughes Mearns’s poem.
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Read the passages and choose the best answer to each question.

Passage 1: The Open Window

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—”

(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.
_____________________________ 1self-possessed: calm and confident 2discounting: downplaying the social status of 3rectory: house where a local priest or minister lives 4infirmities: bodily weaknesses; health problems 5headlong: very hasty and without thinking 6pariah dogs: stray dogs
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Passage 2: Twist Ending in a Classic Tale

by Catherine Sustana
Saki is the pen name of the British writer Hector Hugh Munro, also known as H. H. Munro (1870–1916). In “The Open Window,” possibly his most famous story, social conventions and proper etiquette provide cover for a mischievous teenager to wreak havoc on the nerves of an unsuspecting guest.

Plot
(1) Framton Nuttel, seeking a “nerve cure” prescribed by his doctor, visits a rural area where he knows no one. His sister provides letters of introduction so he can meet people there.

(2) He pays a visit to Mrs. Sappleton. While he waits for her, her 15-year-old niece keeps him company in the parlor. When she realizes Nuttel has never met her aunt and knows nothing about her, she explains that it has been three years since Mrs. Sappleton’s “great tragedy,” when her husband and brothers went hunting and never returned, presumably engulfed by a bog (which is similar to sinking in quicksand). Mrs. Sappleton keeps the large French window open every day, hoping for their return.

(3) When Mrs. Sappleton appears she is inattentive to Nuttel, talking instead about her husband’s hunting trip and how she expects him home any minute. Her delusional manner and constant glances at the window make Nuttel uneasy.

(4) Then the hunters appear in the distance, and Nuttel, horrified, grabs his walking stick and exits abruptly. When the Sappletons exclaim over his sudden, rude departure, the niece calmly explains that he was probably frightened by the hunters’ dog. She claims that Nuttel told her he was once chased into a cemetery in India and held at bay by a pack of aggressive dogs.

Social Conventions Provide “Cover” for Mischief
(5) The niece uses social decorum very much to her favor. First, she presents herself as inconsequential, telling Nuttel that her aunt will be down soon, but “[left bracket]i[right bracket]n the meantime, you must put up with me.” It’s meant to sound like a self-effacing pleasantry, suggesting that she isn’t particularly interesting or entertaining. And it provides perfect cover for her mischief.

(6) Her next questions to Nuttel sound like boring small talk. She asks whether he knows anyone in the area and whether he knows anything about her aunt. But as the reader eventually understands, these questions are reconnaissance to see whether Nuttel will make a suitable target for a fabricated story.

Smooth Storytelling
(7) The niece’s prank is impressively underhanded and hurtful. She takes the ordinary events of the day and deftly transforms them into a ghost story. She includes all the details needed to create a sense of realism: the open window, the brown spaniel, the white coat, and even the mud of the supposed bog. Seen through the ghostly lens of tragedy, all of the ordinary details, including the aunt’s comments and behavior, take on an eerie tone.

(8) The reader understands that the niece won’t get caught in her lies because she’s clearly mastered a lying lifestyle. She immediately puts the Sappletons’ confusion to rest with her explanation about Nuttel’s fear of dogs. Her calm manner and detached tone (“enough to make anyone lose his nerve”) add an air of plausibility to her outrageous tale.

The Duped Reader
(9) One of the most engaging aspects of this story is that the reader is initially duped, too, just like Nuttel. The reader has no reason to disbelieve the niece’s “cover story”—that she’s just a demure, polite girl making conversation.

(10) Like Nuttel, the reader is surprised and chilled when the hunting party shows up. But unlike Nuttel, the reader finally learns the truth of the situation and enjoys Mrs. Sappleton’s amusingly ironic observation: “One would think he had seen a ghost.”

(11) Finally, the reader experiences the niece’s calm, detached explanation. By the time she says, “He told me he had a horror of dogs,” the reader understands that the real sensation here is not a ghost story, but rather a girl who effortlessly spins sinister stories.
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Question 29
29.

There is one blank in the sentence below. For this blank, click the phrase that uses correct punctuation.
My mom's house is________________________ no one can convince me otherwise!

Question 30
30.

There is one blank in the sentence below. For this blank, click the phrase that uses correct punctuation.

Every once in a while as she worked on the restoration, she would notice a tool in a different room than where she’d left it or that a stack of paint______________________________________ now spread throughout the room.

Question 31
31.

There is one blank in the sentence below. For this blank, click the phrase that uses correct punctuation to show a break in thought.

She never thought much of it _________________ the night she slept in the house for the first time.

Question 32
32.

There is one blank in the sentence below. For this blank, click the phrase that uses correct punctuation.
__________________________ laughed the events off.

Question 33
33.

There is one blank in the sentence below. For this blank, click the word that correctly completes the sentence.
She simply told the ghost, “I wouldn’t play tricks if I ______________________you.”

Question 34
34.

There is one blank in the sentence below. For this blank, click the word that correctly completes the sentence.

She still suggests that each of her guests __________________________ with one eye open, though.

Question 1
1.

Which phrase from Passage 1 uses imagery to appeal to the reader’s senses?

Question 2
2.

This question has two parts. First, answer Part A. Then, see the next question to answer Part B.
Part A Which word best describes the tone of Passage 1?

Question 3
3.

Part B Select the two lines that best support the answer to Part A. (See #2 for Part A).

Question 4
4.


Traditional ghost stories often make use of archetypes, or patterns found in literature from different cultures and time periods. What do the characters and setting of Passage 1 have in common with many other ghost stories? Cite examples of these archetypal elements found in the text.

Question 5
5.

In Passage 2, why does the actor pause between the words in the phrase who wasn’t there in line 2?

Question 6
6.

Listen to the way the actor in Passage 2 delivers line 6 of the poem.
The man was waiting there for me
The actor’s use of emphasis suggests that —

Question 7
7.

In which two ways does the dramatic reading in Passage 2 adapt the poem from Passage 1?

Question 8
8.

This question has two parts. First, answer Part A. Then, answer Part B in number 11.
Part A Which sentence best states a theme of Passage 1?

Question 9
9.

Part B Select the two quotations from the story that best support the answer to Part A. (see question above for Part A).

Question 10
10.

Read the sentence from paragraph 3 of Passage 1.
“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 11
11.

The word division comes from the Latin root videre, which means “to separate.” What is the meaning of the word division in paragraph 4 of Passage 1?

Question 12
12.

Read this sentence from paragraph 14 of Passage 1.
“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 13
13.

Which two lines from Passage 1 are examples of foreshadowing?

Question 14
14.

This question has two parts. First, answer Part A. Then, answer Part B in number 17.
Part A What inference can be made about Framton Nuttel’s character?

Question 15
15.

Part B Select two sentences from Passage 1 that best support the answer to Part A. (See #16 for Part A).

Question 16
16.

Read the dictionary entry:
sympathetic \sim′pə-thet´ik\ 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 of Passage 1?

Question 17
17.

What is the author’s purpose in summarizing the story’s plot in paragraphs 1–4 of of Passage 2?

Question 18
18.

Read the sentence from paragraph 2 of Passage 2.
When she realizes Nuttel has never met her aunt and knows nothing about her, she explains that it has been three years since Mrs. Sappleton’s “great tragedy,” when her husband and brothers went hunting and never returned, presumably engulfed by a bog (which is similar to sinking in quicksand).
How does adding the suffix -ed to the word engulf change its meaning?

Question 19
19.

What is the author’s purpose for discussing social conventions in paragraphs 5 and 6 of Passage 2?

Question 20
20.

This question has two parts. First, answer Part A. Then, answer Part B.
Part A How does the author of Passage 2 portray Vera in paragraphs 7 and 8?

Question 21
21.

Part B Which two sentences from Passage 2 best support the answer to Part A?

Question 22
22.

Which two sentences from Passage 2 most clearly indicate that the author finds Munro’s portrayal of Vera’s character effective?

Question 23
23.

How does the author structure paragraph 10 of Passage 2?

Question 24
24.

Which statement best summarizes the section “The Duped Reader” in Passage 2?

Question 25
25.

Select three phrases from paragraphs 9–11 of Passage 2 that best represent the central idea.

Question 26
26.

Read paragraph 10 of Passage 2.
Like Nuttel, the reader is surprised and chilled when the hunting party shows up. But unlike Nuttel, the reader finally learns the truth of the situation and enjoys Mrs. Sappleton’s amusingly ironic observation: “One would think he had seen a ghost.”
For which two reasons does the author find Mrs. Sappleton’s comment ironic?

Question 27
27.

Remember- a summary is clear, concise, accurate and objective (no opinion - all fact based)
Write a summary of Passage 2.

Question 28
28.

Select two phrases from Passage 2 that differ from how the story is presented in Passage 1.