Most Dangerous Game Literary Analysis SkillBuilder Conflict Most stories are built around a central conflict, or struggle

between people, or betweem people and nature, an obstacle, or society. Sometimes t e struggle may go on inside a c aracter. An external conflict in!ol!es a c aracter pitted against an outside force. An internal conflict occurs w en t e struggle takes place wit in a c aracter"s own mind. List instances of eac kind of conflict in t e story. # en answer t e $uestions. %nternal Conflict &aroff

'ainsford

()ternal Conflict *erson !s. *erson

*erson !s. +ature

*erson !s. ,bstacle

-ollow .p/ 0 ic conflicts added t e most e)citement to t e story1 0 ic re!ealed somet ing important about one of t e c aracters1 ()plain. 0 y do you t ink Connell included t e ot er conflicts t at you identified1

Littell, McDougal. Comp. The Language of Literature: Unit One Resource Book . (!anston, %llinois/ McDougal Littell, 2333. 42546. *rint.

# e Most Dangerous Game 0ords to 7now SkillBuilder 0ords to 7now

Affable Amenity Condone deplorable disarming droll elude imperati!e $uarry scruple solicitously stamina tangible uncanny 8ealous

A. ,n eac blank line, write t e word from t e word list t at t e clue describes.

4.
2. :. 6. =. >.

# is is a word politicians always seem to use to describe t e li!ing conditions in slums .

9999999999999

# is is a word you would ope people you want to make friend wit would use to describe you. 9999999999999999 # is describes t e air of confidence t at calms your worries about a surgeon"s skill. 9999999999999999 # is is somet ing t at isn"t a necessity but is nice to a!e;like a salt s aker or a telep one<. 999999999999999 # is mig t be t e word you"d c oose to describe a person w o seemed able to read your mind. 9999999999999999 # is describes a book but not t e ideas in it, a flower but not its smell, a !alentine but not t e feeling it gi!es you. 9999999999999999

?. B.

# is is ow one says, @Are you sure you"re all rig t1 Can % do anyt ing to elp1A 99999999999999999 # is describes t ose t ings you really must a!e and t ose t ings you really must do. 999999999999999

B. -or eac p rase in t e first column, find t e p rase in t e second column t at is closest in meaning. 0rite t e letter of t at p rase in t e blank. 99999 4. regretful prey 99999 2. 8ealous protection 99999 :. a droll rabbit 99999 6. permit perfume 99999 =. student"s morals 99999 >. a fis "s endurance 99999 ?. a!oid t e unmannerly A. elude t e rude B. condone cologne C. a sorry $uarry D. pupil"s scruples (. a funny bunny -. intense defense G. a salmon"s stamina

C. 0rite a description of General &aroff using at least five of t e 0ords to 7now.

Littell, McDougal. Comp. The Language of Literature: Unit One Resource Book . (!anston, %llinois/ McDougal Littell, 2333. 42546. *rint.

# e Most Dangerous Game Grammar SkillBuilder/ C oosing *recise Cerbs 7ey Concept/ ()perienced writers often a!oid using suc common !erbs as be, have, make, go, say, and lie. %nstead t ey use more precise !erbs to clarify meaning, create !i!id images, and strengt en t e mood of t eir writing. *recise Cerbs Cerbs are t e most powerful words in sentences. # ey con!ey action, mo!ement, and sometimes t e drama of t oug ts and obser!ations. 0 en re!ising your writing, try to make your ideas as clear as possible. -or e)ample, in t e following sentences t e !erb wanders is more precise and con!eys a more !i!id image t an t e !erb walks. Common erbs: De walks along t e narrow deck. !recise erb: De wanders along t e narrow deck. Acti!ity/ 'eplace eac underlined !erb in t ese sentences wit a !erb t at creates a more !i!id picture. Make sure t at t e !erbs you select agree in number wit t eir subEects. 4. 'ainsford is in a steamer c air on t e deck in t e $uiet Carribbean nig t, w en suddenly t e distant sound of gunfire startles im. 2. :. 6. =. >. ?. B. F. 'ainsford stands up and mo!es $uickly to t e railing. De gets up on t e railing. Losing is balance, e falls into t e warm sea waters. After swimming strenuously to s ore, e pulls imself out of t e water. #wo nig ts of fear go by at a snail"s pace. De lies out on a tree limb so e can watc t roug a screen of lea!es. 'ainsford stops t ere wit e!ery muscle ready to spring. Like popping a balloon, t e air comes from 'ainsford"s lungs.

43. De knows it is useless to walk t roug t e dense Eungle at nig t.

Littell, McDougal. Comp. The Language of Literature: Unit One Resource Book . (!anston, %llinois/ McDougal Littell, 2333. 42546. *rint.