Unit 1 Lesson 5 - Mask of Red Death.pdf
Unit 1 Lesson 5 - Mask of Red Death.pdf
Unit 1 Lesson 5 - Mask of Red Death.pdf
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adopted by Mr. and Mrs. John<br />
ems and short stories as well<br />
short story, his stories usually<br />
and mysterious quality so<br />
masked and costumed persL<br />
wrote a large number <strong>of</strong> po<br />
masterful craftsman <strong>of</strong> the<br />
many <strong>of</strong> Poe’s tales possess.<br />
create a single, horrifying ef<br />
as some works <strong>of</strong> criticism. A<br />
as a symbol representing a truth about a condition <strong>of</strong> life.<br />
tended to have meanings independent <strong>of</strong> the action in the surta<br />
An allegory is a story intended to be read on a symbolic 1ev<br />
In an allegorical story, the characters, settings, and events are<br />
story. For example, the palace in “The Masque <strong>of</strong> the <strong>Red</strong> Deal<br />
may stand for the entire world. In fact, the entire story can be se’<br />
(1809—1849) was born in Bos<br />
ton, Massachusetts. When<br />
his parents died, Poe was<br />
Allan and raised in Richmond,<br />
Virginia. In his short life, Poe<br />
fect. “The Masque <strong>of</strong> the <strong>Red</strong><br />
<strong>Death</strong>,” which was first pub<br />
lished in 1842, has the eerie<br />
perately to avoid his fate. What happens seems to bear out this stat<br />
candlestick (p. 168) n.: Clothing (p. 171)<br />
brrn) n.: A large branched (h bil’ mrt<br />
beyond what fate has predestined” (Napoleon Bonaparte). Before<br />
words. In your journal explore to what extent humans can and ca’<br />
Something apparently se<br />
shn) n.: Disapproval (p. 171i<br />
In “The Masque <strong>of</strong> the <strong>Red</strong> <strong>Death</strong>,” Prince Prospero tries do’<br />
ment: “Our hour is marked, and no one can claim a moment <strong>of</strong> Ife<br />
you read the story, write a journal entry in response to Napoleor<br />
not control their fate.<br />
Knowing the following words will help you as you read ‘T<br />
(mask) n.: A costume<br />
ball or masquerade theme<br />
(p. 167)<br />
(6 gust’) adj. Imposing<br />
(pé<br />
A pleasantly<br />
(p. 170)<br />
(kan’ d, Iã<br />
kan se) n.:<br />
sham p quality<br />
(dis ap r b<br />
(fan’ taz’m)<br />
but having no physical real’<br />
(p. 170)<br />
(mum r) n. L<br />
who acts out pantomirP<br />
(ar besk’) adj: (p. 172)<br />
I m e q I “Itil I( ‘,<br />
Elaborately designed (p. 170)<br />
Masque <strong>of</strong> the <strong>Red</strong> <strong>Death</strong>.”<br />
and magnificent (p. 167)<br />
GUIDE FOR READING
The <strong>Red</strong> <strong>Death</strong>” had long devastated<br />
the cuuittrv. No pestilence had ever been so<br />
fatal, or so hideous. Blood was its Avatar<br />
and it aal the redness and the horror <strong>of</strong><br />
blood. There were sharp paills. and sudden<br />
dizzifle-, and then pr<strong>of</strong>use bleeding at the<br />
pores with dissolution. The scarlet stains<br />
upon the body and especially upon the face<br />
<strong>of</strong> the victim, were the pest ban which shut<br />
him out from the aid and from the sympathy<br />
<strong>of</strong> his fellow men. And the whole seizure,<br />
progress and teimination <strong>of</strong> the disease,<br />
were the tncidents <strong>of</strong> half an hour.<br />
But the Prince Prospero was happy and<br />
dauntless and sagacious. When his domin<br />
ions were half depopulated, he summoned<br />
to his presence a thousand hale and light<br />
hearted fri ends from among the knights and<br />
dames <strong>of</strong> his court, and with these retired to<br />
the deep seclusion <strong>of</strong> one <strong>of</strong> his castellated<br />
abbeys. Thi.s was an extensive and magnifi<br />
cent structure, the creation <strong>of</strong> the princes<br />
own eccentric yet august taste. A strong and<br />
l<strong>of</strong>ty wall girdled it in. This wall had gates <strong>of</strong><br />
iron. The courtiers, having entered, brought<br />
furnaces and massy<br />
The Masque<br />
<strong>of</strong> the <strong>Red</strong> <strong>Death</strong><br />
3 hammers and welded<br />
Edgar Allan Poe<br />
the bolts. They resolved to leave irleatis tici<br />
tiler <strong>of</strong> ingress or egress to the sudden<br />
impulses <strong>of</strong> despair or <strong>of</strong> frenzy from within.<br />
[he abbey was amply proisioited. With<br />
such piecautions the courtiers might bid<br />
defiance to contagion. Phe external world<br />
could take care <strong>of</strong> itself, In the meantime it<br />
was folly to grieve, or to think. The prince<br />
had provided all the appliances <strong>of</strong> pleasure.<br />
There were buffoons, there were improv<br />
isatori,<br />
were musicians, there was Beauty, there<br />
was wine. All these and security were with<br />
in. Without was the “<strong>Red</strong> <strong>Death</strong>.”<br />
It was toward the close <strong>of</strong> the fifth or<br />
sixth month <strong>of</strong> his seclusion, and while the<br />
pestilence raged most furiously abroad, that<br />
the Prince Prospero entertained his thou<br />
sand friends at a masked ball <strong>of</strong> the most<br />
unusual magnificence.<br />
It was a voluptuous scene, that mas<br />
querade. But first let me tell <strong>of</strong> the rooms in<br />
which it was held. There were seven—an<br />
imperial suite. In many palaces, however,<br />
such suites ldrm a long and straight vista,<br />
while the folding doors slide back nearly to<br />
the walls on either hand, so that the view <strong>of</strong><br />
5 there were ballet dancers, there<br />
f<br />
P<br />
‘ii<br />
r<br />
d<br />
I<br />
I<br />
1. Avatar t’ tar’) ri. A smbo1 or manifestation <strong>of</strong><br />
an uns .,<br />
2. Ctejj4t4 kas t Ia tid) abbeys 1db eu<br />
i erits itfl La,tle like t0 (IS.<br />
3. massy .‘ is’ el oc).. Massie or large.<br />
4. ingress rn’ iies) or egress te’ gles) Enteuiu ,)i<br />
lea nig<br />
5. improvsatur1 till pi to tot 0 [‘0(1, .slIu<br />
itOprol sr. r eate erses ‘a ithout prr 1005 tiluliClil<br />
I<br />
Iho .“!asqLw vi the Krci Dr 1im iv /
‘Ihe second chamber was purple iii its orna<br />
blue and vividly blue wele its wiudows.<br />
turn at every twenty or thirty yards. and at<br />
eastern exti enmity was hung. for example, iii<br />
narrow Uotliic window looked out upon a<br />
glass whose color varied in accordance with<br />
the pievailing hue <strong>of</strong> the decorations <strong>of</strong> the<br />
chanibci into which at opened That at the<br />
<strong>of</strong> the suite. 1 hese windows were <strong>of</strong> stained<br />
closed corridor which pursued the windings<br />
iriore than one at a time. There was a sharp<br />
left, air the aimaddle <strong>of</strong> each wall, a tall and<br />
bc cii expected from the duke’s love <strong>of</strong> the<br />
the whole extent is scarcely impeded. Here<br />
the case was er’ difiercait as might have<br />
bizarre, The apartments were so irregularly<br />
disposed that time vision embraced but little<br />
each turn a novel effect. To the right and<br />
<strong>of</strong> any kind emanating from lamp or candle<br />
the fifth with white—the sixth with viokt.<br />
with the decorations. The panes here wu<br />
depended from the ro<strong>of</strong>. There was no light<br />
scarlet—a deep blood color. Now in no one <strong>of</strong><br />
ornaments that lay scattered to and fro or<br />
the seven apartments was there any lamp or<br />
material and hue. But in this chamber oni’,<br />
the color <strong>of</strong> the windows failed to correspond<br />
candelabrum amid the pr<strong>of</strong>usion <strong>of</strong> goldt n<br />
over the ceiling and down the walls, fallii.i.<br />
in heavy folds upon a carpet <strong>of</strong> the sane<br />
naents and tapestries, and here the pam<br />
were purple. The third was green throughout,<br />
and so were the casements. The fouri’<br />
in black velvet tapestries that hung dii<br />
was furnished and lighted with orange—<br />
The seventh apartment was closely shroud I
ihe suite <strong>of</strong> chambers. But in the<br />
corrid rs that followed the suite, there<br />
stood. (pposite to each window, a heavy tri<br />
pod. hearing a brazier<br />
its rays through the tinted glass and so<br />
glaringly illumined the room. And thus were<br />
prodti’ d a multitude <strong>of</strong> gaudy and fantastic<br />
appear inueS. But in the western or black<br />
chamber the effect <strong>of</strong> the firelight that<br />
streamed upon the dark hangings through<br />
the bl& od-tinted panes, was ghastly in the<br />
extreme, and produced so wild a look upon<br />
the counteflaflCeS <strong>of</strong> those who entered. that<br />
there vere few <strong>of</strong> the company bold enough<br />
to set toot within its precincts at all.<br />
t <strong>of</strong> fire that projected<br />
6. brazier bra’ tlr) 11. A metal pan or bowl to hold<br />
burning als or charcoal,<br />
It was in this apartment, also, that there<br />
stood against the western wall a gigantic<br />
clock <strong>of</strong> ebony. Its pendulum swung to and<br />
fro with a dull, heavy, monotonous clang:<br />
and when the minute-hand made the circuit<br />
<strong>of</strong> the face, and the hour was to be stricken,<br />
there came from the brazen lungs <strong>of</strong> the<br />
clock a sound which was clear and loud and<br />
deep and exceedingly musical, but <strong>of</strong> so<br />
peculiar a note and emphasis that, at each<br />
lapse <strong>of</strong> an hour. the musicians <strong>of</strong> the or<br />
chestra were constrained to pause. momen<br />
tarily, in their performance, to hearken to<br />
the sound; and thus the waltzers perforce<br />
ceased their evolutions: and there was a<br />
brief disconcert <strong>of</strong> the whole gay company:<br />
and, while the chimes <strong>of</strong> the clock yet rang,<br />
it was observed that the giddiest grew pale,<br />
and the more aged and sedate passed their<br />
hands over their brows as if in confused<br />
reverie or meditation. But when the echoes<br />
had fully ceased, a light laughter at once<br />
pervaded the assembly: the musicians<br />
looked at each other and smiled as if at their<br />
own nervousness and folly, and made whis<br />
pering vows, each to the other, that the next<br />
chiming <strong>of</strong> the clock should produce in them<br />
no similar emotion: and then, after the lapse<br />
<strong>of</strong> sixty minutes, (which embrace three<br />
thousand and six hundred seconds <strong>of</strong> the<br />
Time that flies), there came yet another<br />
chiming <strong>of</strong> the clock, and then were the<br />
same disconcert and tremulousness and<br />
meditation as before.<br />
But, in spite <strong>of</strong> these things, it was a gay<br />
and magnificent revel. The tastes <strong>of</strong> the<br />
duke were peculiar. He had a fine eye for<br />
colors and effects. He disregarded the deco<br />
ra7 <strong>of</strong> mere fashion. His plans were bold and<br />
fiery, and his conceptions glowed with bar<br />
baric luster. There are some who would have<br />
thought him mad. His followers felt that he<br />
tt<br />
ij<br />
7. decora Ida kOr’ ,) ii.: Ree1uireinent. ol bood taste.<br />
The i’lasque <strong>of</strong> the <strong>Red</strong> <strong>Death</strong> 169
it<br />
was not. it was necessary to hear and see<br />
and touch him to be sure that he was not.<br />
He had directed, in great part. the mov<br />
able embellishments <strong>of</strong> the seven chambers,<br />
upon occasion <strong>of</strong> this great fete; and it was<br />
his own guiding taste which had given char<br />
acter to the masqueraders. Be sure they<br />
were grotesque. There were much glare and<br />
glitter and piquancy and phantasm—much<br />
<strong>of</strong> what has been since seen in Hema,ai.’<br />
There were arabesque figures with unsuited<br />
limbs and appointments. There were deliri<br />
ous fancies such as the madman fashions.<br />
There was much <strong>of</strong> the beautiful, much <strong>of</strong><br />
the wanton, much <strong>of</strong> the bizarre, something<br />
<strong>of</strong> the terrible, and not a little <strong>of</strong> that which<br />
might have excited disgust. To and fro in the<br />
seven chambers there stalked, in fact, a<br />
multitude <strong>of</strong> dreams. Arid these—the<br />
dreams—writhed in and about, taking hue<br />
from the rooms, and causing the wild music<br />
<strong>of</strong> the orchestra to seem as the echo <strong>of</strong> their<br />
steps. And, anon, there strikes the ebony<br />
clock which stands in the hail <strong>of</strong> the velvet.<br />
And then, for a moment, all is still, and all is<br />
silent save the voice <strong>of</strong> the clock. The<br />
dreams are stiff-frosen as they stand. But<br />
the echoes <strong>of</strong> the chime die away—they<br />
have endured but an<br />
a light.<br />
half-subdued laughter floats after them as<br />
they depart. And now again the music<br />
swells, and the dreams live, and writhe to<br />
and fro more merrily than ever, taking hue<br />
from the many-tinted windows through<br />
which stream the rays from the tripods, But<br />
to the chamber which lies most westwardly<br />
<strong>of</strong> the seven, there are now none <strong>of</strong> the<br />
maskers who venture; for the night is wan<br />
ing away: and there flows a ruddier light<br />
through the blood-colored panes: and the<br />
blackness <strong>of</strong> the sable drapery appalis: and<br />
instant—and<br />
to him whose foot falls upon the sable<br />
pet. there comes from the near clock ol<br />
ebony a mufiled peal more solemnly<br />
phatic than aia’ which reaches their ears<br />
who indulge in the more remote gaieties 01<br />
the other apartments.<br />
But these other apartments were denst<br />
ly crowded, and in them beat feverishly the<br />
heart <strong>of</strong> life. And the revel went whirliaagi’<br />
on. until at length there commenced tb<br />
sounding <strong>of</strong> midnight upon the clock And<br />
then the music ceased, as I have told; and<br />
the evolutions <strong>of</strong> the waitzers were quieted:<br />
and there was an uneasy cessation <strong>of</strong> all<br />
things as before. But now there were twelve<br />
stiokes to be sounded by the bell <strong>of</strong> th<br />
clock: and thus it happened, perhaps, th’ t<br />
more <strong>of</strong> thought crept, with more <strong>of</strong> tim<br />
into the meditations <strong>of</strong> the thoughtfub<br />
among those who reveled. And thus, too, it<br />
happened. perhaps. that before the last ecl<br />
oes <strong>of</strong> the last chime had utterly sunk into<br />
silence, there were many individuals in the<br />
crowd who had found leisure to become<br />
aware <strong>of</strong> the presence <strong>of</strong> a masked figure<br />
which had arrested the attention <strong>of</strong> no sin<br />
gle individual before. And the rumor <strong>of</strong> this<br />
presence having spread itself whisper<br />
ingly around. there arose at length from th<br />
whole a buzz, or murmur,<br />
sive <strong>of</strong> disapprobation and surprise—then.<br />
finally, <strong>of</strong> terror, <strong>of</strong> horror. and <strong>of</strong> disgust<br />
lii an assembly <strong>of</strong> phantasms such as I<br />
have painted, it may well be supposed that<br />
no ordinary appearance could have excited<br />
such sensation In truth the masquerad<br />
license <strong>of</strong> the mght was nearly unlimited<br />
but the figure ira question had out-Heroded<br />
H crud. and gone beyond the bounds <strong>of</strong> even<br />
the prince’s indefinite decorum. There are<br />
ne<br />
compan<br />
cdr<br />
em<br />
expres<br />
I<br />
S. Bernuitt: An extlavdgarlt dau b<br />
author Victor Hugo.<br />
170 Short Stories<br />
the Fiench<br />
9. out-Hei-oded Hrzod: helaed exe”,IeI ju.t d’<br />
hiatt Herud did lii the Ilibli- laugIitered<br />
innoectit babies, hoping to kill Je’,us<br />
Hio
Upon this spectral image (which with a slow<br />
Even with the utterly lost, to whom life and<br />
which cannot be touched without emotion.<br />
which no jest can be made. The whole com<br />
was tall and gaunt, and shrouded from head<br />
stiffened corpse that the closest scrutiny<br />
cheat. And yet all this might have been<br />
ers around. But the mummer had gone so<br />
far as to assume the type <strong>of</strong> the <strong>Red</strong> <strong>Death</strong>.<br />
When the eyes <strong>of</strong> Prince Prespero fell<br />
so nearly to resemble the countenance <strong>of</strong> a<br />
to foot in the habiliments <strong>of</strong> the grave. The<br />
neither wit nor propriety existed. The figure<br />
must have had difficulty in detecting the<br />
pany, indeed, seemed now deeply to feel that<br />
in the costume and bearing <strong>of</strong> the stranger<br />
was besprinkled with the scarlet horror.<br />
broad brow, with all the features <strong>of</strong> the face,<br />
His vesture was dabbled in blood—and his<br />
chords in the hearts <strong>of</strong> the most reckless<br />
death are equally jests, there are matters <strong>of</strong><br />
mask which concealed the visage was made<br />
endured, if not approved, by the mad revel<br />
The Nasque <strong>of</strong> the Ned <strong>Death</strong> 171<br />
waltzers) he was seen to be convulsed, in<br />
his brow reddened with rage.<br />
the first moment with a strong shudder<br />
sustain its role, stalked to and fro among the<br />
and solemn movement, as if more fully to<br />
either <strong>of</strong> terror or distaste; but, in the next,
I<br />
172 Short Stories<br />
music had become hushed at the waving <strong>of</strong><br />
mockery? Seize him and unmask him<br />
which stood the Prince Prospero as he ut<br />
his hand.<br />
prince, with a group <strong>of</strong> pale courtiers by his<br />
direction <strong>of</strong> the intruder, who at the moment<br />
was also near at hand, and now, with delib<br />
impulse, shrank from the centers <strong>of</strong> the<br />
rooms to the walls, he made his way unin<br />
movement had been made to arrest him. It<br />
side. At first, as he spoke, there was a slight<br />
to seize him; so that, unimpeded, he passed<br />
from the first, through the blue chamber<br />
to the purple—through the purple to the<br />
even thence to the violet. ere a decided<br />
while the vast assembly, as if with one<br />
to the speaker. But from a certain nameless<br />
awe with which the mad assumptions <strong>of</strong> the<br />
It was in the eastern or blue chamber in<br />
It was in the blue room where stood the<br />
at sunrise, from the battlements!”<br />
tered these words. They rang throughout<br />
prince was a bold and robust man, and the<br />
—that we may know whom we have to hang<br />
the courtiers who stood near him—’ ‘who<br />
dares insult us with this blasphemous<br />
rushing movement <strong>of</strong> this group in the<br />
the seven rooms loudly and clearly—for the<br />
there were found none who put forth hand<br />
green—through the green to the orange<br />
erate and stately step, made closer approach<br />
mummer had inspired the whole party,<br />
within a yard <strong>of</strong> the prince’s person; and,<br />
terruptedly, but with the same solemn and<br />
—through this again to the white—and<br />
measured step which had distinguished him<br />
‘Who dares?” he demanded hoarsely <strong>of</strong><br />
fell prostrate in death the Prince Prospei<br />
10. cerements sir’ uioi’s ri.. tVrappins or shroud<br />
gay. And the flames <strong>of</strong> the tripods expiree<br />
the retreating figure, when the latter, having<br />
ment, turned suddenly and confronted Ii s<br />
carpet, upon which, instantly afterward.<br />
Then, summoning the wild courage <strong>of</strong> d’ -<br />
spair, a throng <strong>of</strong> the revelers at once thri. a’<br />
thief in the night. And one by one droppt d<br />
the revelers in the blood-bedewed halls<br />
themselves into the black apartment, and,<br />
erect and motionless within the shadow ef<br />
the ebony clock, gasped in unutterable hv<br />
posture <strong>of</strong> his fall. And the life <strong>of</strong> the ebori<br />
that had seized upon all. He bore al<strong>of</strong>t a<br />
attained the extremity <strong>of</strong> the velvet apa -<br />
pursuer. There was a sharp cry—and tie<br />
their revel, and died each in the despairiii.<br />
followed him on account <strong>of</strong> a deadly terrr<br />
his own momentary cowardice, rushed h -<br />
drawn dagger, and had approached, in ra i<br />
impetuosity, to within three or four feet ,f<br />
dagger dropped gleaming upon the sal<br />
ror at finding the grave cerements’° an]<br />
seizing the mummer, whose tall figure sto ci<br />
corpselike mask which they handled with -n<br />
violent a rudeness, untenanted by any ta:<br />
ence <strong>of</strong> the <strong>Red</strong> <strong>Death</strong>. He had come like a<br />
was then. however, that the Prince Pr.o<br />
pero, maddening with rage and the shamt l<br />
riedly through the six chambers, while noise<br />
gible form.<br />
clock went out with that <strong>of</strong> the last <strong>of</strong> tIn<br />
And now was acknowledged the prt<br />
And Darkness and Decay and the <strong>Red</strong> Deall.<br />
held illimitable dominion over all.
4 Desor be the series <strong>of</strong> rooms in which the en<br />
3 Why do Prince Prospero and his followers re<br />
2. Would you have attended the bafl? Explain.<br />
.<br />
w-’at<br />
dd you expect from the masked figure?<br />
treat to bs palace?<br />
j<br />
R1 [IC U fI11\KIN \l) RI ‘Dl<br />
ample. the color red connotes blood and death.<br />
Poe uses that connotation in describing the ap<br />
ings <strong>of</strong> words to help establish symbols. For ex<br />
meaning. Authors can use the connotative mean<br />
-,<br />
--<br />
2. What is te allegorical lesson in the story?<br />
C. the masked figure<br />
b. the mnsquerade<br />
The deeper or symbolic meaning <strong>of</strong> the story may<br />
contain a lesson about life.<br />
e. the clock<br />
a. Prince Prospero<br />
d. the number 7<br />
the <strong>Red</strong> <strong>Death</strong>” represent?<br />
1. What might each symbol from “The Masque <strong>of</strong><br />
events are an interconnected series <strong>of</strong> symbols.<br />
In an allegory the characters, settings, and<br />
ir -<br />
I<br />
/ING Li<br />
would agree.<br />
to live forever.” Explain whether you think Poe<br />
cries out against the idea <strong>of</strong> dying, and hopes<br />
12. Ugo Betti has written, ‘Every tiny part <strong>of</strong> us<br />
- I<br />
fect on the dancers?<br />
and the lighting in the rooms <strong>of</strong> the ball?<br />
8. What mood or effect is created by the colors<br />
9. Why does the clock have such a dramatic ef<br />
10. Why does the visitor frighten the guests?<br />
11. Explain how Poe builds terror in the story.<br />
desire to keep his palace free <strong>of</strong> the plague?<br />
<strong>of</strong> the people Prospero brought inside.<br />
6. Compare hfe outside the palace with the life<br />
7. What do you learn about Prospero from his<br />
5. Expan now the party is disrupted.<br />
tertarrreflt takes place.<br />
\1)I\G 1(3 liii SFfFrIox<br />
The Nasque <strong>of</strong> the <strong>Red</strong> <strong>Death</strong> 1 73<br />
to capture the macabre atmosphere.<br />
Include details about his character and the cir<br />
scription, draw a map <strong>of</strong> Prospero’s palace. Try<br />
also use your imagination to make up details.<br />
set. In your design plans, you must include a<br />
detailed map <strong>of</strong> the palace. Based on Poe’s de<br />
Your supervisor has asked you to design the<br />
a movie <strong>of</strong> “The Masque <strong>of</strong> the <strong>Red</strong> <strong>Death</strong>.”<br />
2. Art. Imagine that you are the set engineer for<br />
cumstances surrounding his death. You might<br />
1. Writing. Write an obituary for Prince Prospero.<br />
OPrioNs<br />
senting. When you revise your work, be sure your<br />
interpretation is clear and makes sense.<br />
these symbols to the larger lesson Poe is pre<br />
giving reasons for your assumptions. Then relate<br />
characters, and aspects <strong>of</strong> the setting stand for,<br />
<strong>Death</strong>.” Tell what you believe the various events,<br />
lock the meaning <strong>of</strong> “The Masque <strong>of</strong> the <strong>Red</strong><br />
Write a key that future readers can use to un<br />
ITH<br />
11<br />
AND WRITING<br />
quality <strong>of</strong> a nightmare.<br />
2. Find three words or phrases that suggest the<br />
b. orange d. black<br />
a. green c. white<br />
colors from the story?<br />
1. What are some connotations <strong>of</strong> the following<br />
pearance <strong>of</strong> the masked figure.<br />
the word suggests beyond its literal dictionary<br />
The connotative meaning <strong>of</strong> a word is what