Integrated Advertising Promotion and Marketing Communications 6Th Edition Clow Test Bank Full Chapter PDF

Integrated Advertising Promotion and
Marketing Communications 6th Edition

Clow Test Bank
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Integrated Advertising, Promotion, and Marketing Communications, 6e (Clow/Baack)
Chapter 6 Advertising Design: Theoretical Frameworks and Types of Appeals
1) The Mcgarrybowen Advertising Agency bases its work on storytelling along with marketing
research.
Answer: TRUE
Diff: 1
Question Tag: Definition (Concept)
Objective: 6-1
2) According to an Adweek Media and Harris Interactive survey, the majority of consumers
(55%) said advertisements were somewhat or very interesting.
Answer: TRUE
Diff: 3
Objective: 6-1
3) The hierarchy of effects model aids in clarifying the target audience of an advertising
campaign and the development of individual ads.
Answer: FALSE
Diff: 1
Objective: 6-1
4) The hierarchy of effects model helps to clarify the objectives of an advertising campaign.
Answer: TRUE
Diff: 1
Objective: 6-1
5) There is a sequential set of steps that leads to a purchase, according to the hierarchy of effects
model.
Answer: TRUE
Diff: 1
Objective: 6-1
6) Before a person develops liking for a product, he or she must first know about the product.
Answer: TRUE
Diff: 1
Objective: 6-1
1
Copyright © 2014 Pearson Education, Inc.
7) Preference occurs before knowledge or awareness in the hierarchy of effects model.
Answer: FALSE
Diff: 2
Objective: 6-1
8) Liking follows awareness and knowledge in the hierarchy of effects model.

Answer: TRUE
Diff: 2
Objective: 6-1
9) Preference follows awareness, knowledge, and liking in the hierarchy of effects model.
Answer: TRUE
Diff: 2
Objective: 6-1
10) Conviction follows liking and preference in the hierarchy of effects model.
Answer: TRUE
Diff: 1
Objective: 6-1
11) The final stage in the hierarchy of effects model is liking and/or preference.
Answer: FALSE
Diff: 2
Objective: 6-1
12) A shopper who sees an item in a store, becomes intrigued, asks for information, and then
makes a purchase is following the sequence of the hierarchy of effects model.
Answer: TRUE
Diff: 2
Question Tag: Application
Objective: 6-1
13) One criticism of the hierarchy of effects model is that when making purchases, consumers
and businesses do not always follow the six steps in a sequential order.
Answer: TRUE
Diff: 2
Objective: 6-1
2
14) The major benefit of the hierarchy of effects model is that it is one method to identify the
typical steps consumers and businesses take when making purchases.
Answer: TRUE
Diff: 2
Question Tag: Critical Thinking
Objective: 6-1
15) To achieve brand loyalty, advertisers must address all six stages of the hierarchy of effects
model.
Answer: TRUE
Diff: 3
Objective: 6-1
16) The attitude sequence of cognitive → conative → affective is based on the hierarchy of
effects model sequence.
Answer: FALSE
Diff: 3
Objective: 6-2
17) Based on the hierarchy of effects model, affective-oriented advertisements are superior in
developing liking, preference, and conviction for a product.
Answer: TRUE
Diff: 3
Objective: 6-1
18) Based on the hierarchy of effects model, cognitive-oriented advertisements are superior in
developing brand awareness, brand knowledge, and brand preference.
Answer: FALSE
Diff: 3
Objective: 6-2
19) Based on the hierarchy of effects model, conative-oriented advertisements are superior in
facilitating product purchases and other consumer actions.
Answer: TRUE
Diff: 3
Objective: 6-1
3
20) In a means-end chain, the message should be the means that leads the consumer to a desired
end state.
Answer: TRUE
Diff: 2
Objective: 6-1
21) MECCAS stands for Means-End Conceptualization of Components of Advertising Strategy.

Answer: TRUE
Diff: 2
Objective: 6-1
22) A means-end chain stresses the linkage between a product's attributes and its price.
Answer: FALSE
Diff: 1
Objective: 6-1
23) Means-end theory is the basis of the MECCAS approach to advertising.

Answer: TRUE
Diff: 3
Objective: 6-1
24) Executional frameworks are a component of a MECCAS model.

Answer: TRUE
Diff: 2
Objective: 6-1
25) Personal values are not part of a MECCAS model but are part of a means-end chain.
Answer: FALSE
Diff: 3
Objective: 6-1
26) Both the hierarchy of effects model and the means-end chain model are associated with the
use of a leverage point.
Answer: TRUE
Diff: 3
Objective: 6-1
4
27) A leverage point moves the consumer from understanding a product's benefits to linking
those benefits with personal values.
Answer: TRUE
Diff: 1
Objective: 6-2
28) The leverage point in an advertisement is the message or concept that links the product's
attributes and benefits to the consumer end-state values.
Answer: TRUE
Diff: 2
Objective: 6-2
29) Creatives spend considerable time designing ads with powerful leverage points.
Answer: TRUE
Diff: 2
Objective: 6-2
30) A leverage point is associated with an attitudinal change, especially when the sequence used
is .
Answer: TRUE
Diff: 3
Objective: 6-2
31) Taglines are important because they carry over from one ad to another and provide
consistency across ad campaigns.
Answer: TRUE
Diff: 1
Objective: 6-2
32) Visual images tend to be more difficult to remember than verbal copy.
Answer: FALSE
Diff: 2
Objective: 6-3
33) Visual elements in an advertisement can be stored in the brain as both pictures and words.
Answer: TRUE
Diff: 2
Objective: 6-3
5
34) A message is more likely to be effective when it has both visual and verbal elements,
because these components will be dual-coded into the person's memory.
Answer: TRUE
Diff: 2
Objective: 6-3
35) Verbal images are usually stored in both the left and right sides of the brain, while visual
elements tend to be stored in the left side of the brain only.
Answer: FALSE
Diff: 3
Objective: 6-3
36) Abstract pictures instill higher levels of recall than concrete pictures because of the dual-
coding process that occurs with abstract pictures whereby the image is stored in the brain as both
a visual and a verbal representation.
Answer: FALSE
Diff: 3
AACSB Categories: AACSB: Reflective thinking skills
Objective: 6-3
37) Ads with concrete images tend to lead to more favorable attitudes than ads with no pictures
or abstract pictures.
Answer: TRUE
Diff: 3
Objective: 6-3
38) If a radio conjures images that consumers can see clearly in their minds, the effect may be
greater than seeing an actual visual portrayal.
Answer: TRUE
Diff: 3
Objective: 6-3
39) Visual esperanto is the development of an image that readily translates across cultures, but
only with certain languages, such as Spanish.
Answer: FALSE
Diff: 2
Objective: 6-3
6
40) Visual esperanto advertising recognizes that visual images are more powerful than verbal
descriptions.
Answer: TRUE
Diff: 2
Objective: 6-3
41) In the past, creatives designing business-to-business advertisements relied heavily on the
verbal element rather than on visuals. In recent years, there has been a shift to using stronger
visual elements in business-to-business advertisements.
Answer: TRUE
Diff: 3
Objective: 6-3
42) The particular type of appeal that should be used in an advertisement should be based on a
review of the creative brief, the objective of the advertisement, and the means-end chain to be
conveyed.
Answer: TRUE
Diff: 2
Objective: 6-4
43) Using a fear appeal in an advertisement increases both the viewer's interest in the ad and the
persuasiveness of the ad.
Answer: TRUE
Diff: 3
Objective: 6-5
44) Fear is an ineffective form of advertising appeal that has been largely abandoned.
Answer: FALSE
Diff: 1
Objective: 6-5
45) In a fear appeal, severity is the degree of potential physical, social, or psychological harm.
Answer: TRUE
Diff: 3
Objective: 6-5
7
46) In a fear appeal, vulnerability is based on the likelihood or the probability that a negative
event will occur.
Answer: TRUE
Diff: 2
Objective: 6-5
47) Severity and vulnerability are key elements in rational advertisements.

Answer: FALSE
Diff: 2
Objective: 6-5
48) An advertisement designed to convince viewers that if they do not use a particular brand of
deodorant, they will be social outcasts is stressing the severity of a negative consequence in a
fear appeal.
Answer: TRUE
Diff: 3
Objective: 6-5
49) An advertisement featuring a fear appeal that suggests a person will feel good about losing
weight is an example of highlighting extrinsic rewards.
Answer: FALSE
Diff: 3
Objective: 6-5
50) When a viewer believes he or she can take action to prevent negative consequences by
purchasing a product or service, the individual is exhibiting self-efficacy.
Answer: TRUE
Diff: 3
Objective: 6-5
51) Low levels of fear in an ad may not create feelings of severity or vulnerability.
Answer: TRUE
Diff: 3
Objective: 6-5
8
52) A fear level that is too high is impossible to create, because viewers have become immune to
fear tactics in advertising.
Answer: FALSE
Diff: 3
Objective: 6-5
53) Humor is a rarely-used form of advertising appeal.

Answer: FALSE
Diff: 1
Objective: 6-6
54) Humor has proven to be one of the best appeals for cutting through advertising clutter.
Answer: TRUE
Diff: 1
Objective: 6-6
55) Humor causes consumers to watch, laugh, and, most important, respond with an immediate
purchase.
Answer: FALSE
Diff: 3
Objective: 6-6
56) To be successful, humor used in ads should be connected directly to the product's benefits.
Answer: TRUE
Diff: 3
Objective: 6-6
57) When humor in an ad is remembered, the product or brand is almost always easily recalled.
Answer: FALSE
Diff: 3
Objective: 6-6
58) Humor is being used less frequently in other countries throughout the world.
Answer: FALSE
Diff: 2
Objective: 6-6
9
59) While some evidence exists that humor may be universal, other research indicates that
particular executions of humor appeals may not be universal and that humor is often based in
one's culture.
Answer: TRUE
Diff: 2
Objective: 6-6
60) Although using sex in advertising no longer sells the way it used to and no longer has the
shock value it had in the past, advertising in the United States and other countries contain more
visual sexual themes than ever before.
Answer: TRUE
Diff: 3
Objective: 6-7
61) Women tend to respond more favorably to the use of overt sexuality in advertisements than
they do to the use of sensuality.
Answer: FALSE
Diff: 1
Objective: 6-7
62) Truly subliminal sexual messages are highly effective advertising techniques.
Answer: FALSE
Diff: 1
Objective: 6-6
63) Sexually suggestive ads tend to work well with personal products such as perfume or
cologne.
Answer: TRUE
Diff: 3
Objective: 6-7
64) Ads that use nudity or partial nudity are almost always designed to elicit some type of sexual
response in the viewers.
Answer: FALSE
Diff: 1
Objective: 6-7
10
65) Nudity and partial nudity in advertisements are most effective when the product has some
form of sexual connotation.
Answer: TRUE
Diff: 1
Objective: 6-7
66) A decorative model is a person who adorns a product as a sexual or attractive stimulus, but
has nothing to actually do with the product.
Answer: TRUE
Diff: 1
Objective: 6-7
67) Using overt sexuality in ads for products that are sexually-oriented is normally accepted, but
it often becomes controversial when used for other types of products.
Answer: TRUE
Diff: 2
Objective: 6-7
68) Sex appeals and nudity tend to increase attention to advertisements, but only for males.
Answer: FALSE
Diff: 1
Objective: 6-7
69) Although sexually-oriented ads attract attention, brand recall for ads using a sex appeal is
lower than ads using some other type of appeal.
Answer: TRUE
Diff: 3
Objective: 6-7
70) Controversial sexual ads are interesting to viewers, but sometimes fail to transmit key
information that will be recalled.
Answer: TRUE
Diff: 2
Objective: 6-7
71) Advertisements using overt sexual stimuli or containing nudity produce higher levels of
physiological arousal responses in males, but not for females.
Answer: FALSE
Diff: 3
Objective: 6-7
11
72) The cognitive impressions made on viewers of a sexually-oriented ad depend on whether
viewers feel the advertisement is pleasant or offensive.
Answer: TRUE
Diff: 3
Objective: 6-7
73) In determining the level of sex appeal to use in an advertisement, it is important to consider
society's view and level of acceptance at the time the ad is to run.
Answer: TRUE
Diff: 2
Objective: 6-7
74) Just as economies go through cycles, attitudes towards sex in advertising experiences
cyclical changes.
Answer: TRUE
Diff: 2
Objective: 6-7
75) One major criticism of sexually-based advertising is that it perpetuates dissatisfaction with
one's body. This is true for both males and females.
Answer: TRUE
Diff: 3
Objective: 6-7
76) Religion, cultures, and value systems determine the level of nudity, sexual references, and
gender-specific issues that are permitted in sexually-oriented advertising in a country.
Answer: TRUE
Diff: 2
AACSB Categories: AACSB: Multicultural and diversity understanding
Objective: 6-7
77) In France, humor and sexuality are often used together in advertising.
Answer: FALSE
Diff: 3
Objective: 6-7
12
78) In many Middle East countries, sex and gender issues are taboo subjects.
Answer: TRUE
Diff: 2
Objective: 6-7
79) In Saudi Arabia and Malaysia, women featured in advertisements must be shown in family
settings and they cannot be depicted as being carefree or desirable to the opposite sex.
Answer: TRUE
Diff: 3
Objective: 6-7
80) While a musical appeal is very good at gaining a viewer's attention, it often decreases the
retention of information in the ad.
Answer: FALSE
Diff: 3
Objective: 6-8
81) In terms of music used in advertisements, the most common method is to use a song that has
already been written or a jingle that already exists.
Answer: FALSE
Diff: 2
Objective: 6-8
82) The primary benefit of using a well-known song in a musical appeal is that consumers have
already developed an affinity for a song, which normally is then transferred to the product or
brand.
Answer: TRUE
Diff: 2
Objective: 6-8
83) Brand awareness, brand equity, and brand loyalty are easier to develop when consumers are
already familiar with the music used in an advertisement than when a new song, music, or jingle
is written.
Answer: TRUE
Diff: 2
Objective: 6-8
13
84) New, emerging musical artists are now more receptive about using their songs in
advertisements because they believe that using the songs will capture the kind of attention that
will lead radio disc jockeys to play the song on the air.
Answer: TRUE
Diff: 3
Objective: 6-8
85) A rational appeal is closely tied to the stages of visual and verbal imagining, moving viewers
from the cognitive to the conative component of attitude.
Answer: FALSE
Diff: 3
Objective: 6-8
86) Rational appeals are most effective when consumers have high levels of involvement and are
willing to pay attention to the ad.
Answer: TRUE
Diff: 2
Objective: 6-8
87) Print media offer the best outlets for rational appeals.
Answer: TRUE
Diff: 2
Objective: 6-8
88) Rational appeals are superior to other appeals in developing and changing attitudes and
establishing brand beliefs when a consumer has a high level of interest in a product or brand.
Answer: TRUE
Diff: 3
Objective: 6-8
89) Emotional appeals are designed to capture a viewer's attention and foster an attachment
between the consumer and the brand.
Answer: TRUE
Diff: 3
Objective: 6-8
14
90) Most creatives view emotional advertising as the key to developing brand loyalty.
Answer: TRUE
Diff: 3
Objective: 6-8
91) Visual and peripheral cues are important in developing effective emotional appeals.
Answer: TRUE
Diff: 3
Objective: 6-8
92) Emotional appeals are not useful for business-to-business advertisements because they do not
incorporate cognitive elements.
Answer: FALSE
Diff: 3
Objective: 6-8
93) The underlying principle for using more emotional appeals in business-to-business
advertising is that emotions can be a part of every type of decision, even in the business-to-
business environment.
Answer: TRUE
Diff: 2
Objective: 6-8
94) Scarcity appeals are designed to build brand awareness and lead to positive attitudes toward
the brand.
Answer: FALSE
Diff: 2
Objective: 6-8
95) The first step in a purchase decision according to the hierarchy of effects model is:
A) awareness
B) liking
C) preference
D) conviction
Answer: A
Diff: 1
Objective: 6-1
15
96) Which immediately follows awareness in the hierarchy of effects model?
A) recognition
B) liking
C) preference
D) knowledge
Answer: D
Diff: 2
Objective: 6-1
97) Which immediately follows awareness and knowledge in the hierarchy of effects model?
A) the purchase
B) liking
C) preference
D) conviction
Answer: B
Diff: 2
Objective: 6-1
98) According to the hierarchy of effects model, after preference comes:

A) the actual purchase
B) recognition
C) knowledge
D) conviction
Answer: D
Diff: 2
Objective: 6-1
99) The final step of the hierarchy of effects model is:

A) the actual purchase
B) liking
C) preference
D) conviction
Answer: A
Diff: 1
Objective: 6-1
16
100) In the hierarchy of effects model, preference for a particular product only occurs after each
of the following occurs, except:
A) awareness
B) liking
C) knowledge
D) conviction
Answer: D
Diff: 2
Objective: 6-1
101) According to the hierarchy of effects model, before Sandra will develop a preference for K-
Swiss shoes, she must first:
A) know about K-Swiss shoes and like the K-Swiss brand
B) have conviction that the K-Swiss brand is superior to other brands
C) know about K-Swiss shoes and believe they are the best
D) become aware of the K-Swiss brand and develop a conviction about the brand
Answer: A
Diff: 2
Objective: 6-1
102) In terms of the hierarchy of effects model, to obtain brand loyalty:

A) all six steps must be present
B) knowledge and preference is essential, the other steps are not
C) liking, preference, and conviction are essential, the other steps are not
D) awareness, knowledge, and conviction are essential, the other steps are not
Answer: A
Diff: 2
Objective: 6-1
103) The hierarchy of effects model:

A) only works in the correct sequence of the model
B) is designed to build recall more than an actual purchase decision
C) clarifies the advertising approach to use by showing what to emphasize during each stage of
the model
D) leads to impulse buying decisions if applied correctly
Answer: C
Diff: 3
Objective: 6-1
17
104) The attitude formation sequence which matches the typical steps in the hierarchy of effects
model is:
A) cognitive-affective-conative
B) affective-conative-cognitive
C) liking-decision-discovery
D) discovery-liking-decision
Answer: A
Diff: 2
Objective: 6-1
105) The cognitive component of attitude matches the hierarchy of effects model's components
of:
A) awareness and knowledge
B) liking, preference, and conviction
C) conviction and action
D) the actual purchase
Answer: A
Diff: 2
Objective: 6-2
106) The affective component of attitude matches the hierarchy of effects model's components
of:
A) awareness and knowledge
B) liking, preference, and conviction
C) conviction and action
Answer: B
Diff: 2
Objective: 6-2
107) The conative component of attitude matches the hierarchy of effects model's element of:
A) knowledge
B) preference
C) conviction
Answer: D
Diff: 2
Objective: 6-2
18
108) In an advertisement for Curves for Women, consumers are encouraged to "join now" by
offering them the rest of the summer free. This portion of the ad corresponds to which step in the
hierarchy of effects model?
A) awareness
B) knowledge
C) conviction
Answer: D
Diff: 3
Objective: 6-1
109) In an advertisement for Curves for Women, consumers are encouraged to "join now" by
offering them the rest of the summer free. This statement in the ad corresponds to which
component of an attitude?
A) cognitive
B) affective
C) conative
D) verbal
Answer: C
Diff: 3
Objective: 6-1
110) The means-end chain approach suggests that an advertisement should contain a message or
means that:
A) leads the consumer to a desired end state
B) changes a consumer's attitude
C) modifies a consumer's beliefs
D) stimulates some type of behavior
Answer: A
Diff: 2
Objective: 6-1
111) In a means-end chain, end states include:

A) the components of attitude
B) personal values
C) the purchase of a product
D) either a change in beliefs or a change in attitude
Answer: B
Diff: 2
Objective: 6-1
19
112) A means-end chain is the basis for the:
A) hierarchy of effects model
B) MECCAS model
C) visual and verbal cue consistency approach
D) components of attitudes
Answer: B
Diff: 1
Objective: 6-1
113) The theory that emphasizes leverage points and personal values is:
A) hierarchy of effects
B) MECCAS
C) visual and verbal cues
D) conative and cognitive models
Answer: B
Diff: 2
Objective: 6-1
114) In a means-end chain for milk, the calcium content of milk leads to healthier bones, which
leads to a display of wisdom and a comfortable life free of osteoporosis. The healthier bones
component of the means-end chain is the:
A) product attribute
B) consumer benefit
C) leverage point
D) personal value
Answer: B
Diff: 3
Objective: 6-1
leads to a display of wisdom and a comfortable life free of osteoporosis. The fact that milk has
calcium represents which component of the means-end chain?
B) consumer benefit
C) leverage point
D) personal value
Answer: A
Diff: 3
Objective: 6-1
20
leads to a display of wisdom and a comfortable life free of osteoporosis. The display of wisdom
and a comfortable life component of the means-end chain is the:
B) consumer benefit
C) leverage point
D) personal value
Answer: D
Diff: 3
Objective: 6-1
117) The concept that moves a consumer from understanding a product's benefits to linking
those benefits with personal values is:
A) awareness
B) liking
C) preference
D) a leverage point
Answer: D
Diff: 1
Objective: 6-2
118) A leverage point is the feature of the ad that moves the viewer from understanding the
product's benefits to linking those benefits with:
A) a liking for the product
B) personal values
C) the visual element into both a mental picture and words
D) some type of action or change in attitude
Answer: B
Diff: 2
Objective: 6-2
119) To construct a quality leverage point, the creative builds a pathway that connects a:
A) product attribute to the product benefit
B) product attribute to the potential buyer's value system
C) product benefit to the potential buyer's value system
D) personal value to the potential buyer's value system
Answer: C
Diff: 2
Objective: 6-2
21
120) The key phrase that summarizes an advertisement's message is the:
A) leverage point
B) product benefit
C) tagline
D) personal value
Answer: C
Diff: 1
Objective: 6-2
121) Visual elements of an advertisement are stored in the brain as:

A) forms of verbal cues
B) images or pictures
C) abstractions
D) both pictures and words
Answer: D
Diff: 2
Objective: 6-3
122) Each of the following statements about the visual element in ads is true, except:
A) visual elements are stored only in the left side of the brain
B) visual elements tend to be more easily remembered than verbal copy
C) visual elements are stored in the brain as both pictures and words
D) visual images often lead to more favorable attitudes toward both the advertisement and the
brand
Answer: A
Diff: 3
Objective: 6-3
123) Visual elements of an advertisement are stored in:

A) the left side of the brain
B) the right side of the brain
C) both sides of the brain
D) the left side of the brain if the visual is abstract and right side if the visual is concrete
Answer: C
Diff: 2
Objective: 6-3
22
124) In terms of the visual element of an advertisement, an abstract image has a:
A) higher level of recall than a concrete image
B) lower level of recall than a concrete image
C) greater impact on the affective component of attitude than a concrete image
D) greater impact on the cognitive component of attitude than on the affective component
Answer: B
Diff: 3
Objective: 6-3
125) In terms of the visual element of an advertisement, a concrete image has a:

A) higher level of recall than an abstract image
B) lower level of recall than an abstract image
C) lesser impact on the affective component of attitude than an abstract image
D) lesser impact on the cognitive component of attitude than on the affective component
Answer: A
Diff: 3
Objective: 6-3
126) In terms of a radio advertisement, if a consumer can see the image in the mind, then the
effect is:
A) greater than if the consumer could see the actual visual
B) greater only if the image is concrete
C) greater only if the image is abstract
D) greater than an ad with an abstract image, but less effective than an ad with a concrete image
Answer: A
Diff: 3
Objective: 6-3
127) Visual esperanto is:

A) an application of the hierarchy of effects model
B) a universal language for global advertising
C) a technique for Spanish-speaking advertisers and consumers
D) the application of a rational leverage point
Answer: B
Diff: 1
Objective: 6-3
23
128) Which is an example of visual esperanto?
A) showing a shared family moment
B) using a decorative model
C) tailoring ad copy to a particular region
D) a visual portrayal of key statistics supporting a product's main benefits
Answer: A
Diff: 2
Objective: 6-3
129) Which is an example of visual esperanto?

A) a photo of a Saturn automobile
B) a child enjoying a snack
C) a description of an office machine
D) a decorative model
Answer: B
Diff: 3
Objective: 6-3
130) The key to creating a successful visual esperanto is creating something that transcends
cultures, through a(n):
A) effective verbal message
B) brand name
C) visual image
D) leverage point
Answer: C
Diff: 2
Objective: 6-3
131) The most difficult task for a creative in developing an advertisement with visual esperanto
is finding:
A) the right tagline to use
B) the right words
C) the right colors
D) the right image
Answer: D
Diff: 2
Objective: 6-3
24
132) In the past, creatives designing business-to-business ads relied heavily on:
A) a blend of visual and verbal elements
B) the visual component of the ad
C) the verbal component of the ad
D) the leverage point and terminal values
Answer: C
Diff: 3
Objective: 6-3
133) In recent years, more business-to-business advertisements have incorporated:

A) stronger verbal elements to persuade business buyers
B) stronger visual elements to heighten the emotional aspect of making a purchase
C) leverage points to move business buyers from knowledge to purchases
D) more rational appeals to create stronger affinities for particular brands
Answer: B
Diff: 3
Objective: 6-3
134) The following are types of appeals that can be used in designing ads, except:
A) economic
B) fear
C) humor
D) sex
Answer: A
Diff: 1
Objective: 6-4
135) The following are types of appeals that can be used in designing ads, except:
A) music
B) cognitive
C) rationality
D) emotion
Answer: B
Diff: 1
Objective: 6-4
25
136) Although almost any type of appeal can be used to create an advertisement, it is the key
responsibility of the marketer to make sure, to whatever degree possible, that the appeal is the
right choice for the:
A) advertising agency and creative that will be working on the ad
B) product, media planner, and media buyer
C) brand and the target audience
D) account executive and creative
Answer: C
Diff: 3
Objective: 6-4
137) In a fear appeal, showing the potential for a devastating injury when seat belts are not used
is an example of:
A) cognition
B) severity
C) vulnerability
D) self-efficacy
Answer: B
Diff: 2
Objective: 6-5
138) In a business-to-business advertisement for Service Metrics where the man is blindfolded
and about ready to step into a manhole, the manhole illustrates which component of the
behavioral response model?
A) severity
B) vulnerability
C) response cost
D) negative consequence
Answer: B
Diff: 3
Objective: 6-5
26
139) In terms of a fear approach, one reason teenagers who smoke do not quit is because they are
afraid they will lose their friends. The social aspect of their lives is more important than the
health aspects. In their minds, losing their friends is which component of the behavioral response
model?
A) intrinsic reward
B) severity
C) vulnerability
D) response cost
Answer: D
Diff: 3
Objective: 6-5
140) Which level of fear is most likely to succeed in an advertisement?

A) a low, non-threatening level
B) a moderate level
C) high levels
D) it's not the level of fear that matters, it's the type
Answer: B
Diff: 1
Objective: 6-5
141) Humor overcomes clutter by:

A) making the person laugh
B) frequently repeating the company's name
C) capturing attention
D) making other products less memorable
Answer: C
Diff: 2
Objective: 6-6
142) Humor causes consumers to watch, laugh, and, most important:

A) make a purchase
B) tell their friends
C) remember
D) tune out other messages
Answer: C
Diff: 1
Objective: 6-6
27
143) The appeal that has proven to be one of the most effective at cutting through clutter is:
A) humor
B) music
C) sex
D) fear
Answer: A
Diff: 2
Objective: 6-6
144) The appeal that often wins awards and tends to be favorites among judges is:
A) fear
B) humor
C) sex
D) emotions
Answer: B
Diff: 3
Objective: 6-6
145) The goal of a humorous ad is to have consumers:

A) pause, remember, and act
B) watch, laugh, and remember
C) concentrate on the funny part
D) ignore the musical element
Answer: B
Diff: 1
Objective: 6-6
146) To be successful, the humor in a humor appeal should be:

A) directed at the target audience of the ad
B) of a low level since humor that is too heavy tends to interfere with message recall
C) directed to the audience's value system
D) connected directly to the product's benefits
Answer: D
Diff: 3
Objective: 6-6
28
147) Research indicates that humor will:
A) get a person's attention, but adversely affects recall of the product's benefits
B) get a person's attention, but interferes with brand recall
C) cut through clutter if the humor is tied closely to the product's attributes
D) elevate a person's mood, which will then be transferred to the product being advertised
Answer: D
Diff: 2
Objective: 6-6
148) In terms of the use of humor internationally, humor is:

A) used less frequently in other countries
B) often based in one's culture
C) normally transferable to other cultures
D) equally effective in all cultures
Answer: B
Diff: 3
Objective: 6-6
149) In terms of using a sex appeal, many advertisers are shifting to:
A) subliminal advertising techniques
B) nudity and partial nudity
C) subtle sexual cues, suggestions, and innuendos
D) overt sexual themes
Answer: C
Diff: 3
Objective: 6-7
150) Sexuality has been employed in advertising in each of the following ways, except:
A) subliminal techniques
B) nudity or partial nudity
C) overt sexuality
D) pornographic
Answer: D
Diff: 1
Objective: 6-7
29
151) Attempting to place a sexual cue in an ad to affect a viewer's subconscious mind is:
A) seductive advertising
B) subliminal advertising
C) partial instead of full nudity
D) sexual suggestiveness
Answer: B
Diff: 1
Objective: 6-7
152) Subliminal sexual messages are:

A) almost always ignored by viewers
B) highly effective with teenage viewers
C) increasingly used instead of humor
D) used to advertise children's products
Answer: A
Diff: 1
Objective: 6-7
153) Using sensuality as a type of sex appeal in advertising:

A) requires both visual and verbal cues
B) requires viewer imagination
C) is based on subliminal cues
D) works only with female viewers since they are more romantic than men
Answer: B
Diff: 2
Objective: 6-7
154) Clothing, perfume, and cologne have sexual connotations, so they are more likely to be
advertised using:
A) rational appeals
B) subliminal approaches
C) sexual suggestiveness
D) scarcity appeals
Answer: C
Diff: 1
Objective: 6-7
30
155) Television and print advertisements by Victoria's Secret of models wearing only underwear
are using which sexual appeal?
A) subliminal technique
B) nudity or partial nudity
C) overt sexuality
Answer: B
Diff: 1
Objective: 6-7
156) Placing a female wearing a bikini in an advertisement for power tools is an example of:
A) a subliminal sexual cue
B) a decorative model
C) overt sexuality
Answer: B
Diff: 1
Objective: 6-7
157) Decorative models are people who:

A) are key product spokespersons
B) are nude models in television ads
C) adorn a product as a sexual stimulus
D) design attractive products
Answer: C
Diff: 1
Objective: 6-7
158) A nude male on a calendar for household furniture is a(n):

A) source or spokesperson
B) decorative model
C) example of subliminal advertising
D) example of overt sexuality
Answer: B
Diff: 2
Objective: 6-7
31
159) Each of the following statements about the use of decorative models is true, except:
A) the presence of a decorative model improves ad recognition, but not brand recognition
B) attractive models produce higher levels of attention than do less attractive models
C) the presence of an attractive model produces higher purchase intentions for any type of
product
D) the presence of a decorative model influences the affective component of attitude
Answer: C
Diff: 3
Objective: 6-7
160) Although sexually-oriented advertisements attract attention, which is lower for ads using a
sex appeal than for ads using some other type of appeal?
A) the interest level
B) the level of physiological response
C) brand recall
D) the level of sexual arousal
Answer: C
Diff: 2
Objective: 6-7
161) The following statements are true about sexually-oriented ads, except:
A) sexually-oriented ads increase the level of brand recall
B) sexually-oriented ads attract attention
C) sexually-oriented ads are rated as more interesting
D) sexually-oriented ads produce higher levels of physiological arousal responses
Answer: A
Diff: 3
Objective: 6-7
162) Ads that were rated as highly controversial in terms of sexual content by both males and
females:
A) were also rated as most interesting
B) had the lowest level of brand recall
C) were the best at relaying product information
D) produced the best results
Answer: A
Diff: 3
Objective: 6-7
32
163) The types of sexually-oriented ads that will produce the highest level of physiological
responses are:
A) nudity and overt sexuality
B) nudity and sexual suggestiveness
C) sensuality and sexual suggestiveness
D) nudity and partial nudity
Answer: A
Diff: 3
Objective: 6-7
164) The cognitive impression made on viewers of a sexually-oriented ad depends on:

A) the level of nudity in the ad
B) the level of sensuality in the ad
C) the type of product being advertised
D) whether the viewer feels the advertisement is pleasant or offensive
Answer: D
Diff: 3
Objective: 6-7
165) In determining the level of sex appeal to use in an advertisement, it is important to consider:
A) the amount of sexually-oriented advertising that is being used by competitors
B) how decorative models are being used
C) society's view and level of acceptance at the time the ad is to run
D) the target audiences view of sexuality
Answer: C
Diff: 3
Objective: 6-7
166) In terms of advertising internationally, the levels of nudity, sexual references, and gender-
specific issues that are permitted in a country are determined by all of the following, except:
A) religions
B) culture
C) value systems
D) personal preferences
Answer: D
Diff: 2
Objective: 6-7
33
167) Using "regular person" models in advertisements are being used by companies such as Wal-
Mart in response to:
A) the decrease in the use of fear advertising tactics
B) the ineffectiveness of rational advertising tactics
C) the criticism of sexually-oriented advertising perpetuating a dissatisfaction with one's body
D) the need to reach female audiences, who do most of the buying in the household
Answer: C
Diff: 3
AACSB Categories: AACSB: Ethical understanding and reasoning abilities
Objective: 6-7
168) Music can be intrusive, which means it will:

A) capture the attention of someone who previously was not listening or watching a program
B) be the most important aspect of an advertisement
C) be effective if the listener recognizes the tune
D) lead to a greater level of brand recall and create positive emotions in listeners
Answer: A
Diff: 2
Objective: 6-8
169) Music is effective at gaining a viewer's attention:

A) but often interferes with the person's ability to retain the information in the ad
B) but interferes with brand and product recall
C) and increases the retention of information in the ad
D) and increasing the viewer's propensity to action
Answer: C
Diff: 3
Objective: 6-8
170) Using a popular song in an advertisement:

A) does not have as much of an effect as writing a new tune
B) transfers the emotional affinity for the song to the product
C) creates brand parity
D) interferes with brand recall ability
Answer: B
Diff: 1
Objective: 6-8
34
171) Using songs from popular musicians is:
A) popular because musicians seek greater exposure of their songs
B) popular because the affinity for the song often transfers to the product
C) not popular because the songs typically overwhelm the message
D) not popular because people remember the musician and the song, not the message
Answer: B
Diff: 3
Objective: 6-8
172) Some musicians now see writing and singing songs for advertisements as a way to get their
songs heard and eventually played by individuals, apart from the ad. The advantages of this
method of writing songs for ads include the following, except:
A) it is easier to develop brand awareness, brand equity, and brand loyalty
B) marketers see an opportunity to tie a new, emerging song to a product
C) many consumers are interested in finding out who performs the music in various ads
D) the Internet provides an opportunity to post the song for people to enjoy
Answer: A
Diff: 3
Objective: 6-8
173) Which type of appeal closely follows the steps in the hierarchy of effects model?
A) sexual
B) emotional
C) rational
D) scarcity
Answer: C
Diff: 1
Objective: 6-8
174) Rational appeals:

A) match the traditional steps of the hierarchy of effects model
B) often include some other type of appeal to gain attention
C) are focused on brand image rather than product benefits
D) are used more in consumer advertising than in business-to-business advertising
Answer: A
Diff: 1
Objective: 6-8
35
175) Which is the best outlet for a rational appeal?
A) broadcast media
B) television and direct mail
C) print media and the Internet
D) non-traditional media
Answer: C
Diff: 2
Objective: 6-8
176) Rational appeals work best when:

A) there is low involvement and the product is simple
B) there is high involvement, but no emotion
C) there is high involvement and the viewer is willing to pay attention to the ad
D) they are related more to the product than the amount of involvement
Answer: C
Diff: 2
Objective: 6-8
177) Byron has an interest in purchasing a motorcycle and is now looking at the different
models, gathering information about each one. Which type of appeal would be the most effective
in developing or changing Byron's attitude and in establishing specific brand beliefs?
A) sex appeal
B) emotional appeal
C) humor appeal
D) rational appeal
Answer: D
Diff: 3
Objective: 6-8
178) Emotional appeals are based on each of the following ideas, except:
A) humor and sex appeals are being overused and therefore not as effective as in the past
B) consumers ignore most advertisements
C) rational appeals go unnoticed unless the consumer is in the market for the particular product
at the time it is advertised
D) emotional advertising can capture a person's attention and foster an attachment between the
consumer and the brand
Answer: A
Diff: 3
Objective: 6-8
36
179) Emotional appeals are popular because:
A) they are better at getting a viewer's attention than humor or sexuality
B) rational appeals are often ignored
C) they emphasize product features
D) they often contain subliminal messages
Answer: B
Diff: 2
Objective: 6-8
180) Most creatives view which type of advertising appeal as the key to developing brand
loyalty?
A) rational
B) humorous
C) emotional
D) sex-oriented
Answer: C
Diff: 3
Objective: 6-8
181) Which type of appeal reaches the more creative right side of the brain?
A) rational
B) sex
C) humor
D) emotional
Answer: D
Diff: 3
Objective: 6-8
182) The priceless campaign of MasterCard is based on a(n):

A) humor appeal
B) emotional appeal
C) rational appeal
D) fear appeal
Answer: B
Diff: 3
Objective: 6-8
37
183) A description of how a search engine can help the web specialist at business feel good
about its website's ability to handle the e-commerce traffic is an example of an advertisement
using a(n):
A) rational appeal
B) emotional appeal
C) scarcity appeal
D) fear appeal
Answer: B
Diff: 3
Objective: 6-8
184) Emotional appeals:

A) have been used more frequently in business-to-business ads in the past decade
B) are designed to evoke cognitive responses
C) primarily describe product attributes
D) are difficult to create on television
Answer: A
Diff: 2
Objective: 6-8
185) Business-to-business ads have tended to use the rational advertising appeals almost
exclusively. In recent years, there has been a move to use more:
A) sex appeals
B) emotional appeals
C) fear appeals
D) scarcity appeals
Answer: B
Diff: 3
Objective: 6-8
186) The best medium for using an emotional appeal is probably:

A) magazines
B) radio
C) television
D) newspapers
Answer: C
Diff: 2
Objective: 6-8
38
187) Scarcity appeals:
A) only work in children's advertising because adults are aware of the ploy
B) do not work for children because they cannot process the information
C) urge consumers to buy a product because of some kind of limitation
D) urge consumers to save money to buy the product later
Answer: C
Diff: 1
Objective: 6-8
188) From the list below, the product that best fits a scarcity appeal would be:
A) a television
B) black dress socks
C) deodorant
D) a musical compilation CD from various artists
Answer: D
Diff: 2
Objective: 6-8
189) The primary benefit of using a scarcity appeal is that it:

A) increases brand awareness
B) encourages consumer action
C) is an excellent method of conveying product information
D) is an excellent method of gaining attention
Answer: B
Diff: 2
Objective: 6-8
190) Name the components of the hierarchy of effects model.

Answer:
• Awareness
• Knowledge
• Liking
• Preference
• Conviction
• The actual purchase
Diff: 2
Objective: 6-1
39
191) Name the components of the MECCAS model. What does MECCAS stand for?
Answer:
1. Product attributes
2. Consumer benefits
3. Leverage points
4. Personal values
5. Executional framework Means-End Conceptualization of Components for Advertising
Strategy
Diff: 2
Objective: 6-1
192) What is a leverage point?

Answer: The part of an advertisement that moves the consumer from understanding a product's
benefits to linking those benefits with personal values.
Diff: 2
Objective: 6-2
193) How are visual elements of ads stored in the brain?

Answer: As both pictures and words.
Diff: 1
Objective: 6-3
194) What are the various types of appeals that can be used in advertising and what is the
primary benefit of each type?
Answer:
• Fear – Increases a viewer's interest in an ad as well as recall.
• Humor – Excellent at breaking through ad clutter and getting a viewer's attention.
• Sex – Good at breaking through clutter and increasing a positive attitude toward the brand
being advertised, if it is appropriate to a sexual approach.
• Music – Good at capturing attention and linking the ad to emotional feelings.
• Rational – Good for high involvement and complex products.
• Emotions – Excellent for developing the affective component of attitude and developing
feelings towards a brand.
• Scarcity – Useful for marketing a product that is in limited supply or available for only a
limited amount of time.
Diff: 3
Question Tag: Synthesis
Objective: 6-4
40
195) In the behavioral response model, discuss the concepts of severity, vulnerability and
response efficacy.
Answer: Severity is the level of consequence from an action or event. Vulnerability is the
probability the event will occur. Response efficacy addresses four issues. First, intrinsic and
extrinsic reward determine the reward obtained from engaging in an action or not doing
something, like smoking. Response costs is the value or costs of the action or event and is
determined by the level of reward that occurs. Finally, self-efficacy addresses whether the person
believes he/she can do it, and if so, the anticipated reward will follow.
Diff: 3
Objective: 6-5
196) Describe the sequence that occurs when a humorous ad is successful.

Answer:
1. The consumer watches
2. laughs
3. most important, remembers
4. The consumer also attaches positive feelings to the product.
Diff: 1
Objective: 6-6
197) What approaches to sexuality are used in advertising?

Answer:
• Subliminal techniques
• Nudity or partial nudity
• Sexual suggestiveness
• Overt sexuality
• Sensuality
Diff: 2
Objective: 6-7
198) What are the major criticisms of sexuality in advertising?

Answer:
• They are too overt and offensive.
• They overemphasize body image.
• They create attention, but do not transmit information.
Diff: 2
Objective: 6-7
41
199) What roles can music play in advertisements?
Answer:
• Incidental background
• Primary theme in the ad
• Inspire emotion
• Create favorable reactions to the ad
Diff: 3
Objective: 6-8
200) What is a scarcity ad? How is scarcity created?

Answer: A scarcity ad urges consumers to buy a product because of a limitation. They can be
limited-production runs, time restrictions where products are only offered during one part of the
year, or a result of deprivation, such as in the "Got Milk" campaign.
Diff: 2
Objective: 6-8
42
Another random document with
no related content on Scribd:
hailstones. Instinctively dropping on my knees, I gripped an angle of
the rock, curled up like a young fern frond with my face pressed
against my breast, and in this attitude submitted as best I could to
my thundering bath. The heavier masses seemed to strike like
cobblestones, and there was a confused noise of many waters about
my ears—hissing, gurgling, clashing sounds that were not heard as
music. The situation was quickly realized. How fast one’s thoughts
burn in such times of stress! I was weighing chances of escape.
Would the column be swayed a few inches away from the wall, or
would it come yet closer? The fall was in flood and not so lightly
would its ponderous mass be swayed. My fate seemed to depend on
a breath of the “idle wind.” It was moved gently forward, the
pounding ceased, and I was once more visited by glimpses of the
moon. But fearing I might be caught at a disadvantage in making too
hasty a retreat, I moved only a few feet along the bench to where a
block of ice lay. I wedged myself between the ice and the wall, and
lay face downwards, until the steadiness of the light gave
encouragement to rise and get away. Somewhat nerve-shaken,
drenched, and benumbed, I made out to build a fire, warmed myself,
ran home, reached my cabin before daylight, got an hour or two of
sleep, and awoke sound and comfortable, better, not worse, for my
hard midnight bath.—From “The Yosemite.” Copyright by The
Century Co., New York, and used by their kind permission.
THE TORTURE OF THE STRAIT-JACKET

By Jack London
Have you ever seen canvas tarpaulins or rubber blankets with
brass eyelets set in along the edges? Then imagine a piece of stout
canvas, some four and one-half feet in length, with large and heavy
brass eyelets running down both edges. The width of this canvas is
never the full girth of the human body it is to surround. The width is
also irregular—broadest at the shoulders, next broadest at the hips,
and narrowest at the waist.
The jacket is spread on the floor. The man who is to be punished,
or who is to be tortured for confession, is told to lie face-downward
on the flat canvas. If he refuses, he is man-handled. After that he
lays himself down with a will, which is the will of the hang-dogs,
which is your will, dear citizen, who feeds and fees the hang-dogs for
doing this thing for you.
The man lies face-downward. The edges of the jacket are brought
as nearly together as possible along the center of the man’s back.
Then a rope, on the principle of a shoe-lace, is run through the
eyelets, and on the principle of shoe-lacing the man is laced in the
canvas. Only he is laced more severely than any person ever laces
his shoe. They call it “cinching” in prison lingo. On occasion, when
the guards are cruel and vindictive or when the command has come
down from above, in order to insure the severity of the lacing the
guards press with their feet into the man’s back as they draw the
lacing tight.
Have you ever laced your shoe too tightly, and, after half an hour
experienced that excruciating pain across the instep of the
obstructed circulation? And do you remember that after a few
minutes of such pain you simply could not walk another step and had
to untie the shoe-lace and ease the pressure? Very well. Then try to
imagine your whole body so laced, only much more tightly, and that
the squeeze, instead of being merely on the instep of one foot, is on
your entire trunk, compressing to the seeming of death your heart,
your lungs, and all the rest of your vital and essential organs.
I remember the first time they gave me the jacket down in the
dungeons. It was at the beginning of my incorrigibility, shortly after
my entrance to prison, when I was weaving my loom-task of a
hundred yards a day in the jute mill and finishing two hours ahead of
the average day. Yes, and my jute-sacking was far above the
average demanded. I was sent to the jacket that first time, according
to the prison books, because of “skips” and “breaks” in the cloth, in
short, because my work was defective. Of course this was ridiculous.
In truth, I was sent to the jacket because I, a new convict, a master
of efficiency, a trained expert in the elimination of waste motion, had
elected to tell the stupid head-weaver a few things he did not know
about his business. And the head-weaver, with Captain Jamie
present, had me called to the table where atrocious weaving, such
as could never have gone through my loom, was exhibited against
me. Three times was I thus called to the table. The third calling
meant punishment according to the loom-room rules. My punishment
was twenty-four hours in the jacket.
They took me down into the dungeon. I was ordered to lie face-
downward on the canvas spread flat upon the floor. I refused. One of
the guards, Morrison, gulleted me with his thumbs. Mobins, the
dungeon trusty, a convict himself, struck me repeatedly with his fists.
In the end I lay down as directed. And, because of the struggle I had
vexed them with, they laced me extra tight. Then they rolled me over
like a log upon my back.
It did not seem so bad at first. When they closed my door, with a
clang and clash of levered boltage, and left me in the utter dark, it
was eleven o’clock in the morning. For a few minutes I was aware
merely of an uncomfortable constriction which I fondly believed
would ease as I grew accustomed to it. On the contrary, my heart
began to thump and my lungs seemed unable to draw sufficient air
for my blood. This sense of suffocation was terrorizing, and every
thump of the heart threatened to burst my already bursting lungs.
After what seemed hours, and after what, out of my countless
succeeding experiences in that jacket I can now fairly conclude to
have been not more than half an hour, I began to cry out, to yell, to
scream, to howl, in a very madness of dying. The trouble was the
pain that had arisen in my heart. It was a sharp, definite pain, similar
to that of pleurisy, except that it stabbed hotly through the heart itself.
To die is not a difficult thing, but to die in such slow and horrible
fashion was maddening. Like a trapped beast of the wild, I
experienced ecstasies of fear, and yelled and howled until I realized
that such vocal exercise merely stabbed my heart more hotly and at
the same time consumed much of the little air in my lungs.
I gave over and lay quiet for a long time—an eternity it seemed
then though now I am confident that it could have been no longer
than a quarter of an hour. I grew dizzy with semi-asphyxiation, and
my heart thumped until it seemed surely it would burst the canvas
that bound me. Again I lost control of myself and set up a mad
howling for help.
In the midst of this I heard a voice from the next dungeon.
“Shut up,” it shouted, though only faintly it percolated to me. “Shut
up. You make me tired.”
“I’m dying,” I cried out.
“Pound your ear and forget it,” was the reply.
“But I am dying,” I insisted.
“Then why worry?” came the voice. “You’ll be dead pretty quick an’
out of it. Go ahead and croak, but don’t make so much noise about
it. You’re interruptin’ my beauty sleep.”
So angered was I by this callous indifference, that I recovered self-
control and was guilty of no more than smothered groans.—From
“The Star Rover.” Copyrighted by The Macmillan Co., New York, and
used with their kind permission.
A SON OF COPPER SIN

By Herman Whitaker
Within his bull’s-hide tepee, old Iz-le-roy lay and fed his little fire,
stick by stick. He was sick, very sick—sick with the sickness which is
made up of equal parts of hunger, old age, fever and despair. Just
one week before his tribe had headed up for Winnipegoos, where
the whitefish may be had for the taking and the moose winter in their
yards. But a sick man may not travel the long trail, so Iz-le-roy had
remained at White Man’s Lake. And Batiste, his son, stayed also.
Not that it was expected of him, for, according to forest law, the man
who cannot hunt had better die; but Batiste had talked with the
gentle priest of Ellice, and had chosen to depart from the custom of
his fathers.
And things had gone badly, very badly, since the tribe had
marched. North, south, east and west, the round of the plains, and
through the leafless woods, the boy had hunted without as much as
a jack-rabbit falling to his gun. For two days no food had passed their
lips, and now he was gone forth to do that which Iz-le-roy had almost
rather die than have him do—ask aid of the settlers.
“Yea, my son,” the old warrior had faltered, “these be they that
stole the prairies of our fathers. Yet it may be that Big Laugh, best of
an evil brood, will give us of his store of flour and bacon.”
So, after placing a plentiful stock of wood close to the old man’s
hand, Batiste had closed the tepee flap and laced it. At the end of an
hour’s fast walking, during which the northern sky grew dark with the
threat of still more cruel weather, he sighted through the drift a
spurting column of smoke.
The smoke marked the cabin of John Sterling, and also his
present occupation. Within, John sat and fired the stove, while Avis,
his daughter, set out the breakfast dishes, and his wife turned the
sizzling bacon in the pan.
“I declare,” exclaimed the woman, pausing, knife in hand, “if that
bread ain’t froze solid!”
“Cold last night,” commented Sterling. “Put it in the oven, Mary.”
As she stooped to obey, the door quietly opened and Batiste
slipped in. His moose moccasins made no noise, and he was
standing close beside her when she straightened. She jumped and
gasped:
“Lor’ ’a’ mercy! How you do scare one! Why don’t you knock?”
Batiste stared. It was the custom of his tribe thus to enter a house,
a custom established before jails were built or locks invented. His
eye therefore roamed questioningly from one to another until Sterling
asked:
“What d’ye want, young fellow?”
Batiste pointed to the frying pan. “Bakin!” he muttered. “The bakin
of Big Laugh, I want. Iz-le-roy sick, plenty sick. Him want flour, him
want ba-kin.”
The thought of his father’s need flashed into his mind, and
realizing the impossibility of expressing himself in English, he broke
into a voluble stream of Cree, punctuating its rolling gutturals with
energetic signs. While he was speaking, Avis ceased rattling her
dishes.
“He looks awfully hungry, dad,” she whispered, as Batiste finished.
Now, though Sterling was a large-souled, generous man, and
jovial—as evidenced by his name of Big Laugh—it happened that,
during the past summer, a roving band of Sioux had camped hard by
and begged him out of patience. That morning, too, the threatening
weather had spoiled an intended trip to Russel and touched his
temper—of which he had a goodly share.
“Can’t help it, girl,” he snapped. “If we feed every hungry Injun that
comes along, we’ll soon be out of house and home. Can’t do
anything for you, boy.”
“Him want ba-kin,” Batiste said.
“Well, you can just want.”
“Iz-le-roy sick, him want ba-kin,” the boy pleaded.
His persistence irritated Sterling, and, crowding down the better
feeling which spoke for the lad, he sprang up, threw wide the door,
and shouted:
“Get, you son of copper sin! Get, now! Quick!”
“Father!” pleaded the girl.
But he took no heed, and held wide the door.
Into Batiste’s face flashed surprise, anger and resentment.
Surprise, because he had not believed all the things Iz-le-roy had
told him of the white men, but had preferred to think them all like
Father Francis. But now? His father was right. They were all cold
and merciless, their hearts hard as their steel ax-heads, their
tongues sharp as the cutting edge. With head held high he marched
through the door, away from the hot stove, the steaming coffee, and
the delicious smell of frying bacon, out into the cold storm.
“Oh, father!” remonstrated his wife, as Sterling closed the door.
“Look here, Mary,” he answered testily, “we fed a whole tribe last
summer, didn’t we?”
“But this lad don’t belong to them,” she pleaded.
“All the worse,” he rejoined. “Do an Injun a good turn an’ he never
forgets. Give him his breakfast, an’ he totes his tribe along to dinner.”
“Well,” sighed the good woman, “I’m real sorry.”
For a few moments both were silent. And presently, as the man’s
kindly nature began to triumph over his irritation, he hitched uneasily
in his chair. Already he felt ashamed. Casting a sheepish glance at
his wife, he rose, walked to the door, and looked out. But a wall of
whirling white blocked his vision. Batiste was gone beyond recall.
“Where’s Avis?” he asked, returning to the stove.
“A-vis!” called her mother.
But there was no answer. For a moment man and wife stared each
other in the eye; then, moved by a common impulse, they walked
into the kitchen. There, on the table, lay the half of a fresh-cut side of
bacon; the bread-box was open and a crusty loaf missing; the girl’s
shawl was gone from its peg and her overshoes from their corner.
“Good God!” gasped the settler. “The child’s gone after him!”
They knew the risk. All the morning the storm had been brewing,
and now it thundered by, a veritable blizzard. The blizzard! King of
storms! It compels the settler to string a wire from house to stables, it
sets men to circling in the snow, it catches little children coming
home from school and buries them in its monstrous drifts.
Without another word Sterling wound a scarf about his neck,
grabbed his badger mitts, and rushed outside.
When Avis softly closed the kitchen door she could just see
Batiste rounding a bluff that lay a furlong west of her father’s stables.
She started after him; but by the time she had covered half the
distance a sea of white swept in between and blotted him from view.
She struggled on, and on, and still on, until, in spite of the seventy
degrees of frost, the perspiration burst from every pore and the scud
melted on her glowing face. This was well enough—so long as she
kept moving; but when the time came that she must stop, she would
freeze all the quicker for her present warmth.
This, being born and bred of the prairie, Avis knew, and the
knowledge kept her toiling, toiling on, until her tired legs and leaden
feet compelled a pause in the shelter of a bluff. She was hungry, too.
All this time she carried the bread and meat, and now, unconscious
of a pair of slant eyes which glared from a willow thicket, she broke
the loaf and began to eat. While she ate, the green lights in the eyes
flared brighter, a long red tongue licked the drool from grinning jaws,
and forth from his covert stole a lank, gray wolf.
Avis uttered a startled cry. This was no coyote, to be chased with a
stick, but a wolf of timber stock, a great beast, heavy, prick-eared,
strong as a mastiff. His nose puckered in a wicked snarl as he slunk
in half-circles across her front. He was undecided. So, while he
circled, trying to make up his mind, drawing a little nearer at every
turn, Avis fell back—back towards the bluff, keeping her white face
always to the creeping beast.
It was a small bluff, lacking a tree large enough to climb, but
sufficient for her purpose. On its edge she paused, threw the bacon
to the wolf, and then ran desperately. Once clear of the scrub, she
ran on, plunging through drifts, stumbling, falling, to rise again and
push her flight. Of direction she took no heed; her only thought was
to place distance between herself and the red-mouthed brute. But
when, weary and breathless, she paused for rest, out of the drab drift
stole the lank, gray shadow.
The brute crouched a few yards away, licking his sinful lips,
winking his devil eyes. She still had the loaf. As she threw it, the wolf
sprang and snapped it in mid-air. Then she ran, and ran, and ran, as
the tired doe runs from the hounds. For what seemed to her an
interminable time, though it was less than five minutes, she held on;
then stopped, spent, unable to take another step. Looking back, she
saw nothing of the wolf; but just when she began to move slowly
forward, thinking he had given up the chase, a gray shape loomed
right ahead.
Uttering a bitter cry, she turned once more, tottered a few steps,
and fainted.
As, wildly calling his daughter’s name, Sterling rushed by his
stables, the wind smote him with tremendous power. Like a living
thing it buffeted him about the ears, tore at his breath, poured over
him an avalanche of snow. Still he pressed on and gained the bluff
which Avis missed.
As he paused to draw a free breath, his eye picked out a fresh-
made track. Full of a sudden hope, he shouted. A voice answered,
and as he rushed eagerly forward a dark figure came through the
drift to meet him. It was Batiste.
“What do you want?” he asked.
Sterling was cruelly disappointed, but he answered quickly: “You
see my girl? Yes, my girl,” he repeated, noting the lad’s look of
wonder. “Young white squaw, you see um?”
“Mooniah papoose?” queried Batiste.
“Yes, yes! She follow you. Want give you bread, want give you
bacon. All gone, all lost!” Sterling finished with a despairing gesture.
“Squaw marche to me? Ba-kin for me?” questioned Batiste.
“Yes, yes!” cried Sterling, in a flurry of impatience.
“I find um,” he said, softly.
Briefly Batiste laid down his plan, eking out his scanty English with
vivid signs. In snow, the white man rolls along like a clumsy buffalo,
planting his feet far out to the right and left. And because his right leg
steps a little further than the left, he always, when lost, travels in a
circle. Wherefore Batiste indicated that they should move along
parallel lines, just shouting distance apart, so as to cover the largest
possible ground.
“Young squaw marche slow. She there!” He pointed north and east
with a gesture. “Yes, there!”
Batiste paused until Sterling got his distance; then, keeping the
wind slanting to his left cheek, he moved off north and east. Ever
and anon he stopped to give forth a piercing yell. If Sterling
answered, he moved on; if not—as happened twice—he traveled in
his direction until they were once more in touch. And so, shouting
and yelling, they bore off north and east for a long half-hour.
After that, Batiste began to throw his cries both east and west, for
he judged that they must be closing on the girl. And suddenly, from
the north, came a weird, tremulous answer. He started, and throwing
up his head, emitted the wolf’s long howl. Leaning forward, he waited
—his very soul in his ears—until, shrill yet deep-chested and
quivering with ferocity, came back the answering howl.
No coyote gave forth that cry, and Batiste knew it.
“Timber wolf!” he muttered.
Turning due north, he gave the settler a warning yell, then sped
like a hunted deer in the direction of the cry. He ran with the long,
lithe lope which tires down even the swift elk, and in five minutes
covered nearly a mile. Once more he gave forth the wolf howl. An
answer came close by, but as he sprang forward it ended with a
frightened yelp. Through a break in the drift he spied a moving
figure; then a swirl swept in and blotted it from view.
But he had seen the girl. A dozen leaps and he was close upon
her. Just as he opened his mouth to speak, she screamed and
plunged headlong.
When consciousness returned, Avis was lying on her own bed.
Her mother bent over her; Sterling stood near by. All around were
the familiar things of life, but her mind still retained a vivid picture of
her flight, and she sprang up screaming:
“The wolf; oh, the wolf!”
“Hush, dearie,” her mother soothed. “It wasn’t a wolf, but just the
Cree boy.”
Batiste had told how she screamed at the sight of his gray, snow-
covered blanket, and the cry had carried even to her father. But
when she recovered sufficiently to tell her story, the father shuddered
and the mother exclaimed:
“John, we owe that boy more than we can ever pay!”
“We do!” he fervently agreed.
Just then the latch of the other door clicked, and a cold blast
streamed into the bedroom. Jumping up, the mother cried:
“Run, John; he’s going!”
“Here, young fellow!” shouted the settler.
Batiste paused in the doorway, his hand on the latch, his slight
body silhouetted against the white of the storm.
“Where you going, boy?”
“To Iz-le-roy,” he answered. “Him sick. Bezhou!”
Sterling strode forward and caught him by the shoulder. “No, you
don’t,” he said, “not that way.” Then, turning, he called into the
bedroom: “Here, mother! Get out all your wraps while I hitch the
ponies. And fix up our best bed for a sick man.”—From “The
Probationer,” copyright and used by the kind permission of author
and publishers, Harper & Brothers, New York.
SOMBRE[7]
By William Wetmore Story
Long golden beams from the setting sun swept over the plains of
Andalusia, and fell upon the Geralda tower of the great cathedral of
Sevilla, many miles in the distance. In their path they illumined a
stretch of vast pastures enclosed by whitened stone walls, and
dotted with magnificent cattle. In a far corner of one of the
enclosures the figure of a young girl passed through an arched stone
gateway. As she paused to look upon the scattered groups of
grazing beasts, the level rays played in lights and shadows upon the
waving masses of dark chestnut hair, richly health-tinted young face,
creamy neck, and large, lustrous eyes now painfully dry, as if tears
were exhausted. She gazed from group to group, calling eagerly,
“Sombre! Sombre!”
A pair of long, gleaming horns rose abruptly amid the browsing
herd, and a magnificent bull came towards her at a brisk trot. The
sunbeams glinted upon his dark coat as it swelled and sank under
the play of powerful muscles. His neck and shoulders were leonine
in massive strength, the legs and hind-quarters as sleek and
symmetrical as those of a race-horse, but his ferociousness was
held in check by that devoted love dumb animals express for those
who love them.
In a moment the young girl’s white arms were thrown around the
animal’s dusky neck, and her cheek was lain against the silken skin.
“Oh, Sombre!” she murmured, “do you know what they are going to
do with you? Papa wants to send you to the Plaza de Toros! I have
begged him in vain to spare you. Does he think after Anita has
brought you from a tiny calf to be such a beautiful, dear toro that she
can give you to the cruel matador to be tortured, made crazy and
killed?”
She was sobbing bitterly, and the devoted beast was striving
vainly to turn his head far enough to lick the fair neck bending down
upon his. Presently the sobbing ceased, and she stroked the strong
shoulders with her small hand.
“Never fear, Sombre, if they take you to Sevilla Anita will find a
way to save you! Now, say good night.”
Sombre thrust out his huge tongue and licked the little hand and
arms. Then she bent forward and kissed him on the frowning, furry
forehead and departed.
Anita’s path homeward lay through another field where a herd of
cattle were being driven. A young herdsman, riding a strong horse at
a brisk canter, saw the young girl enter from the adjoining pasture.
With joyful exclamation in English he rode towards her calling,
“Anita, have you seen the posters?”
Waiting until he reached her side, with bated breath she asked, “Is
—is Sombre advertised?”
“Yes, on the outer gateway. But here, I have a poster in my
pocket.”
Plaza de Toros de Sevilla
May 17.
Anniversary of the King’s Birthday,
Six Bulls to be killed,
The two magnificent brother bulls
Sol and Sombre,
and others very ferocious,
against
The intrepid Matadores,
Lariato, the American, and
Amador, of Sevilla.
“It is cruel of them, cruel! (Reading) ‘Lariato, the American.’ Why,
that is yourself! You will spare him! You will spare my Sombre!”
“They do not permit me to fight Don Alonzo’s bulls, for I raise them
and they would not fight me. Amador will fight Sombre.”
“No, no! You must fight Sombre. That wicked Amador will kill him!”
“But so would I, Anita, or be killed by him!”
Anita was silent for a time; suddenly she exclaimed: “Orlando, do
you love me well enough to put faith in a promise which will seem
impossible of fulfillment?”
“God knows I do!”
“Then listen; if Sombre goes to the Plaza de Toros, you must fight
him and spare him even though they hiss and jeer at you.”
“Death is easier. Perhaps the managers will let me fight him, for
you have raised him, and I can tell them that I have scarcely seen
him. I will fight him, Anita, and for your sake I will let him kill me!”
“No, no, Orlando, for this is my promise, even in the last extremity
Sombre shall not harm you!”
“And then, Anita!”
“Then I will leave my father’s house and go with you. We will buy
Sombre and go to those plains in your country you love so to tell
about. You will become a ranch hero, and Sombre shall be the
patriarch of our herd!”
“I have tried that once and failed!”
“Ah, but you had neither Sombre nor Anita then!” And waving him
a kiss she ran off across the field.
On the 17th of May, in the Plaza de Toros, there was a murmur
from thousands of throats like the magnified hum of bees. Amador of
Sevilla had killed several bulls and now there was a short
intermission. In a stall of the lowest tier sat Anita alone. Presently a
band of music began a stately march, and under a high stone
archway a long procession advanced. First, gaudily caparisoned
picadors on blindfolded studs, two by two, separated and came to a
halt, facing the center, with long lances abreast. Then red-coated
toreadors carrying long barbs, with brilliant streamers of ribbon,
grouped themselves near the heavy closed doors of the bull-pen;
finally, the capeadors in yellow satin, carrying flaming red capes on
their arms, filed around like the mounted picadors and stood
between their studs.
The music ceased, the murmur of voices died away, and the gates
of the bull-pen were thrown open. At a quick trot, a great black bull
dashed in, receiving in his shoulders as he passed the toreador’s
two short barbs. Anita gripped her chair and gasped, “Sombre!”
Coming from a darkened pen, Sombre had trotted eagerly forward,
expecting to find himself once more in his loved pastures, but he
paused, bewildered in the glare of light. Hither and thither he turned
in nervous abruptness, his head raised high, his tail slowly lashing
his flanks. Then he lowered his grand head and sniffed the earth,
and then he smelled fresh, warm blood, the blood of his own kind.
With gathering rage he lowered his keen horns close to the ground
and gave a deep, hoarse bellow of defiance, flinging clod after clod
with his forefeet high above his back. Then there flaunted toward him
a red object at which he charged, but it swept aside, and a new sting
of pain was felt in his neck, and warm blood was trickling over his
glossy skin. Again and again he charged, but each time the red thing
vanished and there was more pain, more torturing barbs that
maddened him.
Presently a horseman advanced with lowered spear. Surely horse
and rider could not vanish. Ah, no! Sombre found that it was not
intended that they should. Rushing upon them he struck them with
such a blow that they were forced backwards twenty feet and both
gave a scream of pain. The picador was dragged away with a broken
leg, and the horse lay lifeless, for Sombre’s horn had pierced its
heart. Instantly a great cry went up from that crater of humanity,
“Bravo! Bravo, Toro! Bravo, Sombre!”
More than once he earned that grand applause, then his
tormentors disappeared and through one of the archways advanced
a young man tall and athletic. On his left arm hung a scarlet mantle,
and in his right hand he carried a long, keen sword. Passing under
the archway, the matador swept his sword in military salute, then
with lowered point he stepped into the arena and faced his
antagonist. Upon all fell an awful silence, for Lariato and Sombre
were met in a struggle to the death!
For a time the combatants stood motionless, eyeing each other
intently. Then came stealthy movements, hither and thither, then
thundering, desperate charges, and graceful, hair-breadth escapes.
At last in one great charge, Sombre’s horn tore the mantle from
Lariato’s arm and carrying it half around the ring, as a flaming
banner, the bull ground and trampled it in the dust. A slight hissing
was heard in the audience which turned to thundering applause
when Lariato contemptuously refused a new mantle! The audience
became breathless, the man alone was now the mad beast’s target!
Sombre, dripping with blood and perspiration, his flanks swelling
and falling in his great gasps for breath, his eyes half blinded by the
dust and glare of the arena, gave the matador one brief glance, then
with head low down, charged upon him. Lariato’s long keen blade
was lowered confidently to its death-dealing slant.
Just as the murderous sword-point seemed about to sink through
the bull’s shoulders, into his very heart, a despairing woman’s cry
reached the matador’s ears. Then a mighty hiss, interspersed with
hoots and jeers, went up from the exasperated spectators, for the
bull thundered on, with the sword scarcely penetrating the tough
muscles, standing upright between his shoulders, while Lariato stood
disarmed.
Coming to a standstill far beyond his antagonist, Sombre shook
his huge neck and the sword spun high into the air and fell toward
the center of the ring. Lariato took several steps toward it, but
tottered and fell upon the ground in a swoon, for he had been
severely bruised.
With an exultant roar, the bull rushed back to complete his victory;
the hissing and the hooting was hushed, and groans of horror filled
the air. Suddenly, just as the animal had gained full headway in his
murderous charge, a slight, white figure glided into the ring, and a
clear voice cried “Sombre!”
At the sound of that voice, the charging beast came strainingly to a
halt, threw up his head, and gazed eagerly about, then turned and
rushed toward the girl! Capeadors hurried forward flaunting their red
capes, but she waved them back.
“Go back! You shall torment him no more, my poor, tortured,
wounded Sombre!”
In a moment the great beast was beside her, licking her dress and
arms and hands. As she deftly extricated the barbs from his neck
and shoulders, the thousands of throats around them shrieked out a
vast pandemonium of bravos. Blood was covering her hands and
staining her dress, but Anita was blind to it. Meanwhile Lariato had
struggled to his feet and hurried towards her. “God bless you,” he
was saying, but she pushed past him with a glad smile, saying,
“Wait, I have something to say to them!”
Standing in the middle of the ring, Anita waited for silence.
Delaying until not a sound was heard, she said in a clear voice that
reached every ear:
“Jeer not at Lariato; he spared my pet, my Sombre, because he
loved me.”
No matador ever gained such applause as followed. Bouquets,
sombreros, scarfs, and full purses showered into the ring, and as
that strange group stood facing the ovation, “Bravo, Lariato, Bravo,
la Señorita de Toros, Bravo, Sombre!” rang out and reëchoed over
the distant housetops.
A COMBAT IN THE ARENA

By George Croly
A portal of the arena opened, and the combatant, with a mantle
thrown over his face and figure, was led into the surroundery. The
lion roared and ramped against the bars of his den at the sight. The
guard put a sword and buckler into the hands of the Christian, and
he was left alone. He drew the mantle from his face, and bent a slow
and firm look around the amphitheater. His fine countenance and
lofty bearing raised a universal shout of admiration. He might have
stood for an Apollo encountering the Python. His eyes at last turned
on mine. Could I believe my senses? Constantius was before me.
All my rancour vanished. An hour past, I could have struck the
betrayer of the heart—I could have called on the severest
vengeance of man and heaven to smite the destroyer of my child.
But to see him hopelessly doomed, the man whom I had honored for
his noble qualities, whom I had even loved, whose crime was, at the
worst, but the crime of giving way to the strongest temptation that
can bewilder the heart of man; to see the noble creature flung to the
savage beast, dying in tortures, torn piecemeal before my eyes, and
his misery wrought by me, I would have supplicated earth and
heaven to save him. But my tongue cleaved to the roof of my mouth.
My limbs refused to stir. I would have thrown myself at the feet of
Nero; but I sat like a man of stone—pale—paralyzed—the beating of
my pulse stopped—my eyes alone alive.
The gate of the den was thrown back, and the lion rushed in with a
roar and a bound that bore him half across the arena. I saw the
sword glitter in the air; when it waved again, it was covered with
blood. A howl told that the blow had been driven home. The lion, one
of the largest of Numidia, and made furious by thirst and hunger, an
animal of prodigious power, crouched for an instant, as if to make
sure of his prey, crept a few paces onward, and sprang at the
victim’s throat. He was met by a second wound, but his impulse was
irresistible. A cry of natural horror rang round the amphitheater. The
struggle was now for an instant, life or death. They rolled over each
other; the lion, reared upon his hind feet with gnashing teeth and
distended talons, plunged on the man; again they rose together.
Anxiety was now at its wildest height. The sword now swung round
the Christian’s head in bloody circles. They fell again, covered with
blood and dust. The hand of Constantius had grasped the lion’s
mane, and the furious bounds of the monster could not lose his hold;
but his strength was evidently giving way—he still struck his terrible
blows, but each was weaker than the one before; till, collecting his
whole force for a last effort, he darted one mighty blow into the lion’s
throat and sank. The savage beast yelled, and spouting out blood,
fled howling around the arena. But the hand still grasped the mane,
and the conqueror was dragged whirling through the dust at his
heels. A universal outcry now arose to save him, if he were not
already dead. But the lion, though bleeding from every vein, was still
too terrible, and all shrank from the hazard. At last, the grasp gave
way, and the body lay motionless on the ground.
What happened for some moments after, I know not. There was a
struggle at the portal; a female forced her way through the guards,
rushed in alone, and flung herself upon the victim. The sight of a new
prey roused the lion; he tore the ground with his talons; he lashed his
streaming sides with his tail; he lifted up his mane and bared his
fangs. But his approaching was no longer with a bound; he dreaded
the sword, and came sniffing the blood on the sand, and stealing
round the body in circuits still diminishing.
The confusion in the vast assemblage was now extreme. Voices
innumerable called for aid. Women screamed and fainted, men burst
into indignant clamors at this prolonged cruelty. Even the hard hearts
of the populace, accustomed as they were to the sacrifice of life,
were roused to honest curses. The guards grasped their arms, and
waited but for a sign from the emperor. But Nero gave no sign.
I looked upon the woman’s face; it was Salome! I sprang upon my
feet. I called on her name; called on her, by every feeling of nature,
to fly from that place of death, to come to my arms, to think of the
agonies of all that loved her.
She had raised the head of Constantius on her knee, and was
wiping the pale visage with her hair. At the sound of my voice, she
looked up, and, calmly casting back the locks from her forehead,
fixed her eyes upon me. She still knelt; one hand supported the head
—with the other she pointed to it as her only answer. I again adjured
her. There was the silence of death among the thousands around
me. A fire dashed into her eye—her cheek burned—she waved her
hand with an air of superb sorrow.
“I am come to die,” she uttered, in a lofty tone. “This bleeding body
was my husband—I have no father. The world contains to me but
this clay in my arms. Yet,” and she kissed the ashy lips before her,
“yet, my Constantius, it was to save that father that your generous
heart defied the peril of this hour. It was to redeem him from the
hand of evil that you abandoned your quiet home!—Yes, cruel father,
here lies the noble being that threw open your dungeon, that led you
safe through the conflagration, that, to the last moment of his liberty,
only sought how he might preserve and protect you.” Tears at length
fell in floods from her eyes. “But,” said she, in tones of wild power,
“he was betrayed, and may the Power whose thunders avenge the
cause of his people, pour down just retribution upon the head that
dared—”
I heard my own condemnation about to be pronounced by the lips
of my own child. Wound up to the last degree of suffering, I tore my
hair, leaped upon the bars before me, and plunged into the arena by
her side. The height stunned me; I tottered a few paces and fell. The
lion gave a roar and sprang upon me. I lay helpless under him, I
heard the gnashing of his white fangs above me.
An exulting shout arose. I saw him reel as if struck—gore filled his
jaws. Another mighty blow was driven to his heart. He sprang high in
the air with a howl. He dropped; he was dead. The amphitheater
thundered with acclamations.
With Salome clinging to my bosom, Constantius raised me from
the ground—the roar of the lion had roused him from his swoon, and
two blows saved me. The falchion had broken in the heart of the
monster.
The whole multitude stood up, supplicating for our lives in the
name of filial piety and heroism. Nero, devil as he was, dared not
resist the strength of popular feeling. He waved a signal to the
guards; the portal was opened, and my children, sustaining my
feeble steps, showered with garlands and ornaments from
innumerable hands, slowly led me from the arena.
KAWEAH’S RUN
By Clarence King
As I walked over to see Kaweah at the corral, I glanced down the
river, and saw, perhaps a quarter of a mile below, two horsemen ride
down our bank, spur their horses into the stream, swim to the other
side, and struggle up a steep bank, disappearing among bunches of
cottonwood trees near the river.
They were Spaniards—the same who had swum King’s River the
afternoon before, and, as it flashed on me finally, the two whom I had
studied so attentively at Visalia. Then I at once saw their purpose
was to waylay me, and made up my mind to give them a lively run.
I decided to strike across, and jumping into the saddle threw
Kaweah into a sharp trot.
I glanced at my girth and then at the bright copper upon my pistol,
and settled myself firmly.
By this time I had regained the road, which lay before me traced
over the blank, objectless plain in vanishing perspective. Fifteen
miles lay between me and a station; Kaweah and pistol were my only
defense, yet at that moment I felt a thrill of pleasure, a wild moment
of inspiration, almost worth the danger to experience.
I glanced over my shoulder and found that the Spaniards were
crowding their horses to their fullest speed; their hoofs, rattling on

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Marketing Communications 6th Edition

8) Liking follows awareness and knowledge in the hierarchy of effects model.

21) MECCAS stands for Means-End Conceptualization of Components of Advertising Strategy.

23) Means-end theory is the basis of the MECCAS approach to advertising.

24) Executional frameworks are a component of a MECCAS model.

47) Severity and vulnerability are key elements in rational advertisements.

53) Humor is a rarely-used form of advertising appeal.

98) According to the hierarchy of effects model, after preference comes:

99) The final step of the hierarchy of effects model is:

102) In terms of the hierarchy of effects model, to obtain brand loyalty:

103) The hierarchy of effects model:

111) In a means-end chain, end states include:

121) Visual elements of an advertisement are stored in the brain as:

123) Visual elements of an advertisement are stored in:

125) In terms of the visual element of an advertisement, a concrete image has a:

127) Visual esperanto is:

129) Which is an example of visual esperanto?

133) In recent years, more business-to-business advertisements have incorporated:

140) Which level of fear is most likely to succeed in an advertisement?

141) Humor overcomes clutter by:

142) Humor causes consumers to watch, laugh, and, most important:

145) The goal of a humorous ad is to have consumers:

146) To be successful, the humor in a humor appeal should be:

148) In terms of the use of humor internationally, humor is:

152) Subliminal sexual messages are:

153) Using sensuality as a type of sex appeal in advertising:

157) Decorative models are people who:

158) A nude male on a calendar for household furniture is a(n):

164) The cognitive impression made on viewers of a sexually-oriented ad depends on:

168) Music can be intrusive, which means it will:

169) Music is effective at gaining a viewer's attention:

170) Using a popular song in an advertisement:

174) Rational appeals:

176) Rational appeals work best when:

182) The priceless campaign of MasterCard is based on a(n):

184) Emotional appeals:

186) The best medium for using an emotional appeal is probably:

189) The primary benefit of using a scarcity appeal is that it:

190) Name the components of the hierarchy of effects model.

192) What is a leverage point?

193) How are visual elements of ads stored in the brain?

196) Describe the sequence that occurs when a humorous ad is successful.

197) What approaches to sexuality are used in advertising?

198) What are the major criticisms of sexuality in advertising?

200) What is a scarcity ad? How is scarcity created?

THE TORTURE OF THE STRAIT-JACKET

A SON OF COPPER SIN

A COMBAT IN THE ARENA

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