Comparing and Contrasting Two Versions of The War of the Worlds — Quiz Answers

Consider these versions of The War of the Worlds. Excerpt 1, from H. G. Wells's novel The War of the Worlds: "Henderson," he called, "you saw that shooting star last night?" "Well?" said Henderson. "It's out on Horsell Common now." "Good Lord!" said Henderson. "Fallen meteorite! That's good." "But it's something more than a meteorite. It's a cylinder—an artificial cylinder, man! And there’s something inside." Excerpt 2, from Howard E. Koch's script for Orson Welles's radio adaptation: WILMUTH: I seen a kinda greenish streak and then zingo! Somethin' smacked the ground. Knocked me clear out of my chair! PHILLIPS: Well, were you frightened, Mrs. Wilmuth? MRS. WILMUTH: Well, I—I ain't quite sure. I reckon I—I was kinda riled. PHILLIPS: Thank you, Mr. Wilmuth. Thank you. Which statement best describes the similarity between these versions?

Which excerpt from The War of the Worlds uses a vivid visual description for aesthetic impact?

Read the excerpt from H. G. Wells's The War of the Worlds . But, looking, I presently saw something stirring within the shadow: greyish billowy movements, one above another, and then two luminous disks—like eyes. Then something resembling a little grey snake, about the thickness of a walking stick, coiled up out of the writhing middle, and wriggled in the air towards me—and then another. How does the author create an aesthetic impact in the excerpt?

Read the excerpt from H. G. Wells's The War of the Worlds . The peculiar V-shaped mouth with its pointed upper lip, the absence of brow ridges, the absence of a chin beneath the wedgelike lower lip, the incessant quivering of this mouth, the Gorgon groups of tentacles, the tumultuous breathing of the lungs in a strange atmosphere, the evident heaviness and painfulness of movement due to the greater gravitational energy of the earth—above all, the extraordinary intensity of the immense eyes—were at once vital, intense, inhuman, crippled and monstrous. There was something fungoid in the oily brown skin, something in the clumsy deliberation of the tedious movements unspeakably nasty. Which statement best describes how Wells conveys his purpose with this excerpt?

Read the excerpt from H. G. Wells's The War of the Worlds . There were raised voices, and some sort of struggle appeared to be going on about the pit. Strange imaginings passed through my mind. As I drew nearer I heard Stent's voice: "Keep back! Keep back!" A boy came running towards me. "It's a-movin'," he said to me as he passed; "a-screwin' and a-screwin' out. I don't like it. I'm a-goin' 'ome, I am." I went on to the crowd. There were really, I should think, two or three hundred people elbowing and jostling one another, the one or two ladies there being by no means the least active. How does the author use tone to create an aesthetic impact in the excerpt?

Read the excerpt from H. G. Wells's The War of the Worlds . The end of the cylinder was being screwed out from within. Nearly two feet of shining screw projected. Somebody blundered against me, and I narrowly missed being pitched onto the top of the screw. I turned, and as I did so the screw must have come out, for the lid of the cylinder fell upon the gravel with a ringing concussion. I stuck my elbow into the person behind me, and turned my head towards the Thing again. For a moment that circular cavity seemed perfectly black. I had the sunset in my eyes. How does the author create an aesthetic impact in the excerpt?

Which statement best describes the difference between the aesthetic appeal of the two versions of The War of the Worlds ?

Consider these versions of The War of the Worlds. Excerpt 1, from H. G. Wells's novel The War of the Worlds: Everything was then quite invisible, hidden by the deep pit and the heap of sand that the fall of the cylinder had made. Anyone coming along the road from Chobham or Woking would have been amazed at the sight—a dwindling multitude of perhaps a hundred people or more standing in a great irregular circle, in ditches, behind bushes, behind gates and hedges, saying little to one another and that in short, excited shouts, and staring, staring hard at a few heaps of sand. Excerpt 2, from Howard E. Koch's script for Orson Welles's radio adaptation: PHILLIPS: Ladies and gentlemen, you've just heard Mr. Wilmuth, owner of the farm where this thing has fallen. I wish I could convey the atmosphere . . . the background of this . . . fantastic scene. Hundreds of cars are parked in a field in back of us. Police are trying to rope off the roadway leading to the farm. But it's no use. They're breaking right through. Cars' headlights throw an enormous spot on the pit where the object's half buried. Some of the more daring souls are now venturing near the edge. Their silhouettes stand out against the metal sheen. (FAINT HUMMING SOUND) One man wants to touch the thing . . . he's having an argument with a policeman. The policeman wins . . . Which statements describe similarities in the authors' craft? Choose three correct answers.

Consider these versions of The War of the Worlds . Excerpt 1, from H. G. Wells's novel The War of the Worlds: The common round the sand pits was dotted with people, standing like myself in a half-fascinated terror, staring at these creatures, or rather at the heaped gravel at the edge of the pit in which they lay. And then, with a renewed horror, I saw a round, black object bobbing up and down on the edge of the pit. It was the head of the shopman who had fallen in, but showing as a little black object against the hot western sun. Now he got his shoulder and knee up, and again he seemed to slip back until only his head was visible. Suddenly he vanished, and I could have fancied a faint shriek had reached me. Excerpt 2, from Howard E. Koch's script for Orson Welles's radio adaptation: PHILLIPS: Ladies and gentlemen, you've just heard Mr. Wilmuth, owner of the farm where this thing has fallen. I wish I could convey the atmosphere . . . the background of this . . . fantastic scene. Hundreds of cars are parked in a field in back of us. Police are trying to rope off the roadway leading to the farm. But it's no use. They're breaking right through. Cars' headlights throw an enormous spot on the pit where the object's half buried. Some of the more daring souls are now venturing near the edge. Their silhouettes stand out against the metal sheen. Which statement best describes the similarity between these versions?

Which excerpt from The War of the Worlds uses a sensory detail for aesthetic impact?