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PROSE FICTION: This passage is adapted from the novel THE MAN WITH TWO LEFT FEET by P. G. WODEHOUSE
He seized her hand.
‘Sh-h!’ hissed the stage-manager.
‘Listen! I love you. I’m crazy about you. What does it matter whether I’m on the stage or not? I love you.’
‘Stop that row there!’
‘Won’t you marry me?’ 
She looked at him. It seemed to him that she hesitated.
‘Cut it out!’ bellowed the stage-manager, and Henry cut it out.
And at this moment, when his whole fate hung in the balance, there came from the stage that devastating high note which is the sign that the solo is over and that the chorus are now about to mobilize. As if drawn by some magnetic power, she suddenly receded from him, and went on to the stage. 
A man in Henry’s position and frame of mind is not responsible for his actions. He saw nothing but her; he was blind to the fact that important manoeuvres were in progress. All he understood was that she was going from him, and that he must stop her and get this thing settled.
He clutched at her. She was out of range, and getting farther away every instant. 
He sprang forward.
The advice that should be given to every young man starting life is—if you happen to be behind the scenes at a theatre, never spring forward. The whole architecture of the place is designed to undo those who so spring. Hours before, the stage-carpenters have laid their traps, and in the semi-darkness you cannot but fall into them. 
The trap into which Henry fell was a raised board. It was not a very highly-raised board. It was not so deep as a well, nor so wide as a church-door, but ’twas enough—it served. Stubbing it squarely with his toe, Henry shot forward, all arms and legs. 
It is the instinct of Man, in such a situation, to grab at the nearest support. Henry grabbed at the Hotel Superba, the pride of the Esplanade. It was a thin wooden edifice, and it supported him for perhaps a tenth of a second. Then he staggered with it into the limelight, tripped over a Bulgarian officer who was inflating himself for a deep note, and finally fell in a complicated heap as exactly in the centre of the stage as if he had been a star of years’ standing. 
It went well; there was no question of that. Previous audiences had always been rather cold towards this particular song, but this one got on its feet and yelled for more. From all over the house came rapturous demands that Henry should go back and do it again. 
But Henry was giving no encores. He rose to his feet, a little stunned, and automatically began to dust his clothes. The orchestra, unnerved by this unrehearsed infusion of new business, had stopped playing. Bulgarian officers and Japanese girls alike seemed unequal to the situation. They stood about, waiting for the next thing to break loose. From somewhere far away came faintly the voice of the stage-manager inventing new words, new combinations of words, and new throat noises.
And then Henry, massaging a stricken elbow, was aware of Miss Weaver at his side. Looking up, he caught Miss Weaver’s eye. 
A familiar stage-direction of melodrama reads, ‘Exit cautious through gap in hedge’. It was Henry’s first appearance on any stage, but he did it like a veteran. 
1. The passage can be primarily considered a:
2. The “magnetic power” referenced at sentence 15 can most likely be attributed to:
3. Sentence 25, “The trap into which Henry fell was a raised board.” refers to:
4. Which of the following examples is more figurative than literal:
5. Which of the following events likely happened first?
6. “Stricken”, sentence 41, most nearly means: