English 10 Pre/Post Test

1. Which of the following most accurately describes the characters’ motivations for accusing each other
of witchcraft in The Crucible?

a. The characters believed that witchcraft and devil worship would destroy their community.
b. The characters had solid proof that there were, in fact, witches living amongst them.
c. The characters were seeking retaliation for acts having nothing to do with witchcraft.
d. The characters lived in a society with a strong court system.

2. Which piece of evidence below best proves the answer to number 1?

a. "It is vengeance walking Salem!" (Proctor, Act Three)

b. “I saw Goody Osburn with the Devil! I saw Bridget Bishop with the Devil!” (Abigail, Act One)
c. “You must understand, sir, that a person is either with this court or he must be counted against it,
there be no road between.” (Danforth, Act Three)
d. “A man may think God sleeps, but God sees everything…” (Proctor, Act Three)

3. Which of the following best expresses the message Arthur Miller intended to communicate to his
readers by writing The Crucible during the McCarthyism era of the 1950’s?

a. Miller wanted to remind his readers that history can be dangerous.

b. Miller hoped to warn his readers about the damage that a climate of fear, suspicion and accusations
can inflict on a community.
c. Miller was accusing Joseph McCarthy of being a communist; much like people in Salem accused each
other of witchcraft and devil worship.
d. Miller was trying to convey that politics, like religion, can be dangerous and destructive.

4. What does the interaction in the box below reveal about the power dynamics between Abigail and
Danforth?
Danforth, turning worriedly to Abigail: Abigail. I bid you now search your heart and tell me this – and beware of it child, to
a. While Abigail is forceful and threatening, Danforth still maintains the power in this interaction.
God every soul is precious and His vengeance is terrible on them that take life without cause. Is it possible, child, that the
spirits you have seen are illusion only, some deception that may cross your mind when –

Abigail: Why, this – this – is a base question, sir.

Danforth: Child, I would have you consider it –

Abigail: I have seen hurt, Mr. Danforth; I have seen my blood runnin’ out! I have been near to murdered every day because I
done my duty pointing out the Devil’s people – and this is my reward? To be mistrusted, denied, questioned like a –

Danforth, weakening: Child, I do not mistrust you –

Abigail, in an open threat: Let you beware, Mr. Danforth. Think you be so mighty that the power of Hell may not turn your
wits? Beware of it!
 b. While Danforth is the judge and Abigail just a girl, it is clear that she holds the power in this
interaction.
c. Abigail and Danforth are engaged in a power struggle, but it is clear that he continues to have the
upper hand.
d. Abigail has held the power over Danforth, but in this interaction her power appears to be diminishing.

5. Which of the following best summarizes the difference between the mood and the tone in this
excerpt from “The Lottery”?

a. While the tone is ominous, the mood is jovial.

b. While the tone is neutral, the mood is cheerful.
c. While the tone is positive, the mood is negative.
Although the villagers had forgotten the ritual and lost the original black box, they still remembered to use stones. The pile of
d. While
stones thehad
the boys tone is matter-of-fact,
made earlier was ready; the
theremood is dark.
were stones on the ground with the blowing scraps of paper that had
come out of the box Delacroix selected a stone so large she had to pick it up with both hands and turned to Mrs. Dunbar.
"Come on," she said. "Hurry up."

Mr. Dunbar had small stones in both hands, and she said. gasping for breath. "I can't run at all. You'll have to go ahead and
I'll catch up with you." The children had stones already. And someone gave little Davy Hutchinson few pebbles.

Tessie Hutchinson was in the center of a cleared space by now, and she held her hands out desperately as the villagers
moved in on her. "It isn't fair," she said. A stone hit her on the side of the head. Old Man Warner was saying, "Come on, come
on, everyone." Steve Adams was in the front of the crowd of villagers, with Mrs. Graves beside him. "It isn't fair, it isn't
right," Mrs. Hutchinson screamed, and then they were upon her.

To answer questions 6 and 7, you must read or reference Appendix One in the back of your exam.

6. In this scene, the author intends for the reader to infer that Tituba and Sarah are hallucinating. Which
two pieces of evidence, when taken together, best prove this statement?

a. “TITUBA, as SARAH drinks: We goin’ to Barbados, soon the Devil gits here with the feathers and the
wings.”
b. “A bellowing cow is heard, and TITUBA leaps up and calls to the window: Aye, sir! That’s him, Sarah!”
c. “HERRICK, grabbing TITUBA: Come along, come along.”
d. “HERRICK: I’d not refuse it. Tituba; it’s the proper morning to fly into Hell.”
e. “TITUBA: That don’t look to me like His Majesty; look to me like the marshal.”
7. What is Herrick’s tone in the following line?

HERRICK: Oh? A happy voyage to you.

a. Compassionate
b. Suspicious
c. Critical
d. Sarcastic

To answer questions 8 – 10, you must read or reference Appendix Two in the back of your exam.

8. “I hate myself as much as I hate him.” Which of the following best explains what the author is
conveying about Tituba through this line.

a. She has displayed integrity throughout her deposition.

b. She is disappointed in herself for following the crowd in Salem.
c. Samuel Parris and the other inhabitants of Salem disgust her.
d. Hester is a role model to Tituba because of their strong bond.

9. Which of the following best summarizes Conde’s purpose for writing the book, I, Tituba: Black Witch
of Salem?

a. To convey that Tituba was a corrupt human being.

b. To show the evils of slavery.
c. To humanize Tituba by giving her a voice.
d. To provide an accurate account of the Salem Witch Trials.

10. Which piece of evidence from I Tituba best proves the answer to number 9?

a. “The sight of all these white faces lapping at my feet looked to me like a sea in which I was about to
drown.”
b. “Hurt the children; and last night there was an appearance that said, ‘Kill the children’….”
c. After my examination, Samuel Parris came to see me. “Well spoken, Tituba. You understood what we
expected of you.”
d. “Do you see who it is that torments these children now?”
 Appendix 1: Attached Reading – The Crucible

A cell in Salem jail, that fall.

At the back is a high barred window; near it, a great, heavy door. Along the walls are two benches. The place is in darkness but
for the moonlight seeping through the bars. It appears empty. Presently footsteps are heard coming down a corridor beyond
the wall, keys rattle, and the door swings open. Marshal Herrick enters with a lantern. He is nearly drunk, and heavy-footed. He
goes to a bench and nudges a bundle of rags lying on it.

HERRICK: Sarah, Wake up! Sarah Good! He then crosses to the other bench.

Sarah Good, rising in her rags: Oh, Majesty! Comin’, comin’! Tituba, he’s here, His Majesty’s come!

HERRICK: Go to the north cell: this place is wanted now. He hangs his lantern on the wall. Tituba sits up.

TITUBA: That don’t look to me like His Majesty; look to me like the marshal.

HERRICK, taking out a flask: Get along with you now, clear this place. He drinks, and Sarah Good comes and peers up into his
face.

SARAH GOOD: Oh, is it you, Marshal! I thought sure you be the Devil comin’ for us. Could I have a sip of cider for me going’ –
away?

HERRICK, handing her the flask: And where are you off to, Sarah?

TITUBA, as SARAH drinks: We goin’ to Barbados, soon the Devil gits here with the feathers and the wings.

HERRICK: Oh? A happy voyage to you.

SARAH GOOD: A pair of bluebirds wingin’ southerly, the two of us! Oh, it be a grand transformation, Marshall! She raises the
flask to drink again.

HERRICK, taking the flask from her lips: You’d best give me that or you’ll never rise off the ground. Come along now.

TITUBA: I’ll speak to him for you, if you desires me come along, Marshal.

HERRICK: I’d not refuse it. Tituba; it’s the proper morning to fly into Hell.

TITUBA: Oh, it be no Hell in Barbados. Devil, him be pleasure man in Barbados, him be singin’ and dancin’ in Barbados. It’s you
folks – you riles him up ‘round here; it be too cold ‘round here for that Old Boy. He freeze his soul in Massachusetts, but in
Barbados he just as sweet and – A bellowing cow is heard, and TITUBA leaps up and calls to the window: Aye, sir! That’s him,
Sarah!

SARAH GOOD: I’m here, Majesty! They hurriedly pick up their rags as HOPKINS, a guard, enters.

HOPKINS: The Deputy Governor’s arrived.

HERRICK, grabbing TITUBA: Come along, come along.

TITUBA, resisting him: No, he’s comin’ for me. I goin’ home!

HERRICK, pulling her to the door: That’s not Satan, just a poor old cow with a hatful of milk. Come along now, out with you!

TITUBA, calling to the window: Take me home, Devil! Take me home!

SARAH GOOD, following the shouting TITUBA out: Tell him I’m going’, Tituba! Now you tell him Sarah Good is goin’ too!

In the corridor outside, TITUBA calls on – “Take me home, Devil: Devil take me home!” and HOPKINS’ voice orders her to move
on. HERRICK returns and begins to push old rags and straw into a corner. Hearing footsteps, he turns and enter DANFORTH and
JUDGE HATHORNE. They are in greatcoats and wear hats against the bitter cold. They are followed in by CHEEVER, who carries a
dispatch case and a flat wooden box containing his writing materials.
 Appendix Two: Tituba, Witch of Salem

“Tituba, what evil spirit have you familiarity with?”

“None.”

“Why do you hurt these children?”

“I do not hurt them.”

“Who is it then?”

“The devil for aught I know.”

“Did you never see the devil?”

“The devil came to me and bid me serve him.”

“Who have you seen?”

“Four women sometimes hurt the children.”

“Who were they?”

“Sarah Osborne and Sarah Good, and I do now know who the others were. Sarah Good and Osborne would have me hurt the
children, but I would not. There was also a tall man of Boston.”

“When did you see them?”

“Last night at Boston.”

“What did they say to you?”

“They said ‘Hurt the children.’”

“And did you hurt them?”

“No, there were four women and one man, they hurt the children, and then they lay all upon me; and they tell me, if I will not
hurt the children, they will hurt me.”

“But you did not hurt them?”

“Yes, but I will hurt them no more.”

“Are you not sorry that you did hurt them?”

“Yes.”

“And why then do you hurt them?”

“They said ‘Hurt the children or we will do worse to you.’”

“What have you seen?”

“A man came to me and said ‘Serve me.’”

“What service?”
“Hurt the children; and last night there was an appearance that said, ‘Kill the children’; and if I would not go on hurting the
children, they would do worse to me.”

***

It went on for hours. I confess I wasn’t a good actress. The sight of all these white faces lapping at my feet looked to me like a
sea in which I was about to drown. Oh, Hester would have made a much better job of it than I! She would have used that
tribunal to shout her hatred of society and to curse her accusers in return. I was truly quite scared out of my wits. The heroic
answers I had dreamed up at home or in my cell vanished into thin air.

***

“Did you not see Sarah Good upon Elizabeth Hubbard last Saturday?”

“I did see her set a wolf upon her to afflict her.”

“What clothes doth the man go in?”

“He goes in black clothes; a tall man, with white hair, I think.”

“How doth the woman go?”

“In a white hood, and a black hood with a top knot.”

“Do you see who it is that torments these children now?”

I spit out with delight and venom: “Yes, it is Goody Good; she hurts them in her own shape.”

“Who is it that hurts them now?”

“I am blind now, I cannot see,” I stuttered, remembering Hester’s recommendations. I didn’t have the heart to say Samuel Paris
and give the names of innocent women.

***

After my examination, Samuel Parris came to see me. “Well spoken, Tituba. You understood what we expected of you.”

I hate myself as much as I hate him.

 Appendix Three: “The Calling”

The calling came to me while I languished

in my room, while I whittled away my youth
in jail cells and damp barrio fields.
It brought me to life, out of captivity,
in a street-scarred and tattooed place
I called body.
Until then I waited silently,
a deafening clamor in my head,
voiceless to all around,
hidden from America's eyes,
a brown boy without a name.
I would sing into a solitary
tape recorder, music never to be heard.
I would write my thoughts
in scrambled English;
I would take photos in my mind
—plan out new parks, bushy green, concrete free,
new places to play and think.
Waiting. Then it came. The calling.
It brought me out of my room.
It forced me to escape night captors
in street prisons.
It called me to war, to be writer,
to be scientist and march with the soldiers
of change.
It called me from the shadows, out of the wreckage
of my barrio—from among those
who did not exist.
I waited all of 16 years for this time.
Somehow, unexpected, I was called.