What is happening in this scene ? "it is nothing," he said; "let us go on. but first, another draught of the medoc." i broke and reached him a flagon of de grave. he emptied it at a breath. his eyes flashed with a fierce light. he laughed and threw the bottle upwards with a gesticulation i did not understand. i looked at him in surprise. he repeated the movement—a grotesque one. "you do not comprehend? " he said. "not i," i replied. "then you are not of the brotherhood." "how? " "you are not of the masons." "yes, yes," i said; "yes, yes." "you? impossible! a mason? " "a mason," i replied. "a sign," he said, "a sign." "it is this," i answered, producing a trowel from beneath the folds of my roquelaire. "you jest," he exclaimed, recoiling a few paces. "but let us proceed to the amontillado." "be it so," i said, replacing the tool beneath the cloak and again offering him my arm. he leaned upon it heavily. we continued our route in search of the amontillado. we passed through a range of low arches, descended, passed on, and descending again, arrived at a deep crypt, in which the foulness of the air caused our flambeaux rather to glow than flame. at the most remote end of the crypt there appeared another less spacious. its walls had been lined with human remains, piled to the vault overhead, in the fashion of the great catacombs of paris. three sides of this interior crypt were still ornamented in this manner. from the fourth side the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size. within the wall thus exposed by the displacing of the bones, we perceived a still interior recess, in depth about four feet in width three, in height six or seven. it seemed to have been constructed for no especial use within itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite. it was in vain that fortunato, uplifting his dull torch, endeavoured to pry into the depth of the recess. its termination the feeble light did not enable us to see. "proceed," i said; "herein is the amontillado. as for luchesi—" "he is an ignoramus," interrupted my friend, as he stepped unsteadily forward, while i followed immediately at his heels. in an instant he had reached the extremity of the niche, and finding his progress arrested by the rock, stood stupidly bewildered. a moment more and i had fettered him to the granite. in its surface were two iron staples, distant from each other about two feet, horizontally. from one of these depended a short chain, from the other a padlock. throwing the links about his waist, it was but the work of a few seconds to secure it.

Memories of a memory have you ever witnessed something amazing, shocking or surprising and found when describing the event that your story seems to change the more you tell it? have you ever experienced a time when you couldn't really describe something you saw in a way that others could understand? if so, you may understand why some experts think eyewitness testimony is unreliable as evidence in scientific inquiries and trials. new insights into human memory suggest human memories are really a mixture of many non-factual things. first, memory is vague. imagine your room at home or a classroom you see every day. most likely, you could describe the room very generally. you could name the color of the walls, the floors, the decorations. but the image you describe will never be as specific or detailed as if you were looking at the actual room. memory tends to save a blurry image of what we have seen rather than specific details. so when a witness tries to identify someone, her brain may recall that the person was tall, but not be able to say how tall when faced with several tall people. there are lots of different kinds of "tall." second, memory uses general knowledge to fill in gaps. our brains reconstruct events and scenes when we remember something. to do this, our brains use other memories and other stories when there are gaps. for example, one day at a library you go to quite frequently, you witness an argument between a library patron and one of the librarians. later, when telling a friend about the event, your brain may remember a familiar librarian behind the desk rather than the actual participant simply because it is recreating a familiar scene. in effect, your brain is combining memories to you tell the story. third, your memory changes over time. it also changes the more you retell the story. documented cases have shown eyewitnesses adding detail to testimony that could not have been known at the time of the event. research has also shown that the more a witness's account is told, the less accurate it is. you may have noticed this yourself. the next time you are retelling a story, notice what you add, or what your brain wants to add, to the account. you may also notice that you drop certain details from previous tellings of the story. with individual memories all jumbled up with each other, it is hard to believe we ever know anything to be true. did you really break your mother's favorite vase when you were three? was that really your father throwing rocks into the river with you when you were seven? the human brain may be quite remarkable indeed. when it comes to memory, however, we may want to start carrying video cameras if we want to record the true picture. part a and part b below contain one fill-in-the-blank to be used for all three question responses. your complete response must be in the format a, b, c including the letter choice, commas, and a space after the commas. part a: which of the following best explains why memories from childhood are unreliable? fill in blank 1 using a, b, or c. our brains add details and general knowledge to childhood memories. our brains are not as reliable as video cameras are. our brains create new stories to make the past more interesting. part b select one quotation from the text that supports your answer to part a. add your selection to blank 1 using e, f, or g. but the image you describe will never be as specific or detailed as if you were looking at the actual room. when a witness tries to identify someone, her brain may recall that the person was tall, but not be able to say how tall. to do this, our brains use other memories and other stories when there are gaps. select one quotation from the text that supports your answer to part a. add your selection to blank 1 using h, i, or j. documented cases have shown eyewitnesses adding detail to testimony that could not have been known at the time of the event. with individual memories all jumbled up with each other, it is hard to believe we ever know anything to be true. when it comes to memory, however, we may want to start carrying video cameras if we want to record the true picture answer for blank 1:

Which sentence best build the suspense

With crack on crack of thunder, zeus let fly a bolt against the ship, a direct hit, so that she bucked, in reeking fumes of sulphur, and all the men were flung into the sea. they came up 'round the wreck, bobbing a while like petrels on the waves. no more seafaring homeward for these, no sweet day of return; the god had turned his face from them. –the odyssey, homer read the passage. then, identify the theme that is supported by the passage. most ships cannot survive a terrible thunderstorm. the ocean is an angry beast that will tame any who try to control it. the gods have the power to control human destiny. men are willing to die to eat the delicious cattle of the gods.