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The Most Dangerous GameLoading...
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By Richard ConnellTable of Contents
Learning Goals
About the Story
The Author
The Story
Characters
The Setting
The Plot
Genre, Themes, Symbolism and Motifs
Activities
Credits
About the Story
The Author
The Story
Characters
The Setting
The Plot
Genre, Themes, Symbolism and Motifs
Activities
Credits
Some icons and images are interactive.
Learning Goals
Identify and enjoy features of classic literature.
Analyze interactions among discourse elements that constitute a genre.
Acquire vocabulary and grammar structures in context.
Develop higher order thinking skills to spot clues, make inferences, think critically and draw conclusions to pose arguments in answer to writing and speaking prompts.
Engage in individual and collaborative group work in integrated language skills.
Analyze interactions among discourse elements that constitute a genre.
Acquire vocabulary and grammar structures in context.
Develop higher order thinking skills to spot clues, make inferences, think critically and draw conclusions to pose arguments in answer to writing and speaking prompts.
Engage in individual and collaborative group work in integrated language skills.
About the story
"The Most Dangerous Game," a 1924 short story by Richard Connell, follows the events of two hunters competing in a unique and life-threatening game of hunt. The short story explores some of life's toughest moral dilemmas and has been adapted and borrowed from countless times since its first publishing in January 1924.
The story considers the true difference between humans and animals and asks the reader to consider whether animals know they are being hunted and feel fear. It also explores the idea of power and who holds it.
The story considers the true difference between humans and animals and asks the reader to consider whether animals know they are being hunted and feel fear. It also explores the idea of power and who holds it.
Image credits
Scan of magazine, Public Domain.
Scan of magazine, Public Domain.
The Author
Richard Connell was born in on October 17th, 1893 in Poughkeepsie, New York. His father was a newspaper reporter who later became a congressman. Following in his father's footsteps, Connell began working as a reporter as a young man at the Poughkeepsie News-Press where his father had worked at one time.
Connell began attending Georgetown University but took a year off in 1910 to work for his father as a secretary after the older man won his seat in Congress. Two years later in 1912, Connell's father died suddenly. Richard returned to college but began a course at Harvard University instead of Georgetown. At Harvard, Connell was the editor of The Harvard Crimson and The Harvard Lampoon.
In 1915, Connell graduated from Harvard and began working as a journalist, full-time. Shortly afterward, however, the United States entered World War I and Connell enlisted in the army and served with the 27th New York division. He spent a year in France and ended up editing the camp newspaper Gas Attack. After the war ended, Connell returned to the US and married Louise Fox in 1919. Later that year, he sold his first short story.
Connell began attending Georgetown University but took a year off in 1910 to work for his father as a secretary after the older man won his seat in Congress. Two years later in 1912, Connell's father died suddenly. Richard returned to college but began a course at Harvard University instead of Georgetown. At Harvard, Connell was the editor of The Harvard Crimson and The Harvard Lampoon.
In 1915, Connell graduated from Harvard and began working as a journalist, full-time. Shortly afterward, however, the United States entered World War I and Connell enlisted in the army and served with the 27th New York division. He spent a year in France and ended up editing the camp newspaper Gas Attack. After the war ended, Connell returned to the US and married Louise Fox in 1919. Later that year, he sold his first short story.
Throughout the 1920's and 30's, Connell created and sold the bulk of his work, most of which were screenplays. Starting with his novel, "The Mad Lover" in 1927, Connell saw modest success but not much critical acclaim throughout his writing career. Though he wrote over ten screenplays, Connell is perhaps most famous for his short story, "The Most Dangerous Game" (1924) an action-packed thriller that is still regularly adapted today.
In the mid-1920's, the Connells moved to California and Richard began working regularly as a screenwriter. Several of his short stories were made into silent films in the 1920's and at the end of the decade in 1929, his first story was made into a movie with sound.
Connell regularly worked with other screenwriters to help adapt their vision as well. In 1941, the movie "Meet John Doe" was nominated for an Oscar for best story and had been developed by Connell. In 1945, his screenplay for "Two Girls and a Sailor", a musical comedy, was also nominated.
Connell was still working as a writer when he suffered a heart attack on November 22nd, 1949 and died quickly. After his death, his stories continued to gain life and "The Most Dangerous Game" in particular continues to be adapted to this day.
In the mid-1920's, the Connells moved to California and Richard began working regularly as a screenwriter. Several of his short stories were made into silent films in the 1920's and at the end of the decade in 1929, his first story was made into a movie with sound.
Connell regularly worked with other screenwriters to help adapt their vision as well. In 1941, the movie "Meet John Doe" was nominated for an Oscar for best story and had been developed by Connell. In 1945, his screenplay for "Two Girls and a Sailor", a musical comedy, was also nominated.
Connell was still working as a writer when he suffered a heart attack on November 22nd, 1949 and died quickly. After his death, his stories continued to gain life and "The Most Dangerous Game" in particular continues to be adapted to this day.
The Story
"OFF THERE to the right--somewhere--is a large island," said Whitney." It's rather a mystery--"
"What island is it?" Rainsford asked.
"The old charts call it 'Ship-Trap Island,"' Whitney replied." A suggestive name, isn't it? Sailors have a curious dread of the place. I don't know why. Some superstition--"
"Can't see it," remarked Rainsford, trying to peer through the dank tropical night that was palpable as it pressed its thick warm blackness in upon the yacht.
"You've good eyes," said Whitney, with a laugh," and I've seen you pick off a moose moving in the brown fall bush at four hundred yards, but even you can't see four miles or so through a moonless Caribbean night."
"Nor four yards," admitted Rainsford. "Ugh! It's like moist black velvet."
"It will be light enough in Rio," promised Whitney. "We should make it in a few days. I hope the jaguar guns have come from Purdey's. We should have some good hunting up the Amazon. Great sport, hunting."
"The best sport in the world," agreed Rainsford.
"For the hunter," amended Whitney. "Not for the jaguar."
"Don't talk rot, Whitney," said Rainsford. "You're a big-game hunter, not a philosopher. Who cares how a jaguar feels?"
"Perhaps the jaguar does," observed Whitney.
"What island is it?" Rainsford asked.
"The old charts call it 'Ship-Trap Island,"' Whitney replied." A suggestive name, isn't it? Sailors have a curious dread of the place. I don't know why. Some superstition--"
"Can't see it," remarked Rainsford, trying to peer through the dank tropical night that was palpable as it pressed its thick warm blackness in upon the yacht.
"You've good eyes," said Whitney, with a laugh," and I've seen you pick off a moose moving in the brown fall bush at four hundred yards, but even you can't see four miles or so through a moonless Caribbean night."
"Nor four yards," admitted Rainsford. "Ugh! It's like moist black velvet."
"It will be light enough in Rio," promised Whitney. "We should make it in a few days. I hope the jaguar guns have come from Purdey's. We should have some good hunting up the Amazon. Great sport, hunting."
"The best sport in the world," agreed Rainsford.
"For the hunter," amended Whitney. "Not for the jaguar."
"Don't talk rot, Whitney," said Rainsford. "You're a big-game hunter, not a philosopher. Who cares how a jaguar feels?"
"Perhaps the jaguar does," observed Whitney.