Which best characterizes the author’s approach to developing the setting in paragraph 1?

PARAGRAPH 1

1 Very early morning. The sun was not yet risen, and the whole of Crescent Bay was hidden under a white sea-mist. The big bush-covered hills at the back were smothered. You could not see where they ended and the paddocks and bungalows began. The sandy road was gone and the paddocks and bungalows the other side of it; there were no white dunes covered with reddish grass beyond them; there was nothing to mark which was beach and where was the sea. A heavy dew had fallen. The grass was blue. Big drops hung on the bushes and just did not fall; the silvery, fluffy toi-toi was limp on its long stalks, and all the marigolds and the pinks in the bungalow gardens were bowed to the earth with wetness. Drenched were the cold fuchsias, round pearls of dew lay on the flat nasturtium leaves. It looked as though the sea had beaten up softly in the darkness, as though one immense wave had come rippling, rippling—how far? Perhaps if you had waked up in the middle of the night you might have seen a big fish flicking in at the window and gone again. . . .

Question 1 options:

She describes obscured distant images and then focuses on distinct close-up details


She describes large stationary objects and then focuses on smaller living things.


She describes the early hour and then focuses on the sounds of a new day emerging.


She describes the presence of the sea and then focuses on the features of the land.

Question 2 (1 point)
Read the sentence below from paragraph 1.


Perhaps if you had waked up in the middle of the night you might
have seen a big fish flicking in at the window and gone again. . . .


Which is most likely the author’s purpose for directly addressing the reader in the sentence?

Question 2 options:

to give the reader information that is unknown to the characters


to draw the reader into an intimate experience of the scene


to create a friendly relationship with the reader


to address a character who remains nameless to the reader

Question 3 (1 point)
What does the shepherd come to first along the sandy road?

Question 3 options:

a gum-tree outside of a shop


the fisherman’s hut


the cat named Florrie


Leila the milk-girl’s home

Question 4 (1 point)
Read the sentences below from paragraph 4.


The sheep spread out into a fan. They were just clear of the summer colony before the first sleeper turned over and lifted a drowsy head; their cry sounded in the dreams of little children . . . who lifted their arms to
drag down, to cuddle the darling little woolly lambs of sleep.

Which best analyzes the author’s use of figurative language in the sentences?

Question 4 options:

The author uses alliteration to mimic both the sounds of sheep and the rhythm of a lullaby.


The author uses a simile to show that sleeping children are as adorable as the lambs in the
fields.


The author uses hyperbole to emphasize that the sheep behave like small children.


The author uses a metaphor to reinforce the traditional connection between sheep and dreams.

Question 5 (1 point)
How does the appearance of the cat reinforce a central idea that runs throughout the passage?

Question 5 options:

Her early arrival is a routine that she follows daily.


Her conflict with the dog is typical of the two kinds of animals.


Her presence blends in seamlessly with the tranquil atmosphere


Her inner thoughts reflect the feelings of the narrator.

Question 6 (1 point)
Which sentence from the passage most clearly shows that the narrator is telling the story from the perspective of one who is thoroughly familiar with the region and its inhabitants?

Question 6 options:

“Drenched were the cold fuchsias, round pearls of dew lay on the flat nasturtium leaves.”


“The sun was not yet risen, and the whole of Crescent Bay was hidden under a white sea- mist.”


“And now they had passed the fisherman’s hut, passed the charred- looking little whare where Leila the milk-girl lived with her old Gran.”


“The shepherd stopped whistling; he rubbed his red nose and wet beard on his wet sleeve and, screwing up his eyes, glanced in the direction of the sea.”