Ana Sucaldito

Mrs. Wilson

AP Multicultural Literature B

15 January 2013

Multiple Choice Questions for The Phantom of the Opera

            As for Erik, he went to Asia Minor and thence to Constantinople, where he entered the Sultan's employment. In explanation of the services which he was able to render a monarch haunted by perpetual terrors, I need only say that it was Erik who constructed all the famous trap-doors and secret chambers and mysterious strong-boxes which were found at Yildiz-Kiosk after the last Turkish revolution. He also invented those automata, dressed like the Sultan and resembling the Sultan in all respects,[13] which made people believe that the Commander of the Faithful was awake at one place, when, in reality, he was asleep elsewhere. 
           See the interview of the special correspondent of the MATIN, with Mohammed-Ali Bey, on the day after the entry of the Salonika troops into Constantinople. 
          Of course, he had to leave the Sultan's service for the same reasons that made him fly from Persia: he knew too much. Then, tired of his adventurous, formidable and monstrous life, he longed to be some one "like everybody else." And he became a contractor, like any ordinary contractor, building ordinary houses with ordinary bricks. He tendered for part of the foundations in the Opera. His estimate was accepted. When he found himself in the cellars of the enormous playhouse, his artistic, fantastic, wizard nature resumed the upper hand. Besides, was he not as ugly as ever? He dreamed of creating for his own use a dwelling unknown to the rest of the earth, where he could hide from men's eyes for all time. 
          The reader knows and guesses the rest. It is all in keeping with this incredible and yet veracious story. Poor, unhappy Erik! Shall we pity him? Shall we curse him? He asked only to be "some one," like everybody else. But he was too ugly! And he had to hide his genius OR USE IT TO PLAY TRICKS WITH, when, with an ordinary face, he would have been one of the most distinguished of mankind! He had a heart that could have held the empire of the world; and, in the end, he had to content himself with a cellar. Ah, yes, we must needs pity the Opera ghost. 
           I have prayed over his mortal remains, that God might show him mercy notwithstanding his crimes. Yes, I am sure, quite sure that I prayed beside his body, the other day, when they took it from the spot where they were burying the phonographic records. It was his skeleton. I did not recognize it by the ugliness of the head, for all men are ugly when they have been dead as long as that, but by the plain gold ring which he wore and which Christine Daae had certainly slipped on his finger, when she came to bury him in accordance with her promise. 
          The skeleton was lying near the little well, in the place where the Angel of Music first held Christine Daae fainting in his trembling arms, on the night when he carried her down to the cellars of the opera-house. 
           And, now, what do they mean to do with that skeleton? Surely they will not bury it in the common grave!...I say that the place of the skeleton of the Opera ghost is in the archives of the National Academy of Music. It is no ordinary skeleton. 

1.      In The Phantom of the Opera, the reader can infer that the author:

A.    Does not believe in the Phantom

B.     Admires Erik

C.     Sympathizes with Erik

D.    Is horrified by Erik

E.     Personally knows Erik

2.      The mention of the “plain gold ring”

I.       Serves as proof to identify the Phantom

II.    Reveals that the skeleton was married

III. Represents the strength of Erik’s and Christine’s tumultuous relationship

A.    I only

B.     I and II

C.     I and III

D.    II and III

E.     I, II and III

3.      The main function of the repetition in Lines 28-30 (“and he became  . . . ordinary bricks”) is to:

A.    Create a rhythm

B.     Emphasize a desire

C.     Contrast with Erik’s “adventurous . . . life” (Line 16)

D.    Create suspense

E.     Transition into the next thought

4.      The pronoun “he” in Line 4 refers to:

A.    The speaker

B.     The Sultan

C.     The reader

D.    Erik

E.     Yildiz-Kiosk

5.      The passage contains all the following characteristics except:          

A.    First person narration

B.     Repetition

C.     Anaphora

D.    Rhetorical questions

E.      Polysyndeton