Card 0 of 230
1 Red Rose, proud Rose, sad Rose of all my days!
2 Come near me, while I sing the ancient ways:
3 Cuchulain battling with the bitter tide;
4 The Druid, grey, wood-nurtured, quiet-eyed,
5 Who cast round Fergus dreams, and ruin untold;
6 And thine own sadness, whereof stars, grown old
7 In dancing silver-sandalled on the sea,
8 Sing in their high and lonely melody.
9 Come near, that no more blinded by man's fate,
10 I find under the boughs of love and hate,
11 In all poor foolish things that live a day,
12 Eternal beauty wandering on her way.
13 Come near, come near, come near—Ah, leave me still
14 A little space for the rose-breath to fill!
15 Lest I no more hear common things that crave;
16 The weak worm hiding down in its small cave,
17 The field-mouse running by me in the grass,
18 And heavy mortal hopes that toil and pass;
19 But seek alone to hear the strange things said
20 By God to the bright hearts of those long dead,
21 And learn to chaunt a tongue men do not know.
22 Come near; I would, before my time to go,
23 Sing of old Eire and the ancient ways:
24 Red Rose, proud Rose, sad Rose of all my days.
(1893)
The descriptor "poor" in line 11 suggests that the "foolish things that live a day" ________________.
In line 11 the "foolish things that live a day" are also described as "poor." The descriptor "poor" suggests that it is to some extent not the fault of these "foolish" things that they are foolish and short-lived. "Poor" suggests that they simply do not have what it would take for them to be otherwise. Since this is the case, the descriptor "poor" suggests that these things deserve pity, even if they are not the lofty, eternal things the poet really desires to write about.
Passage adapted from "To the Rose Upon the Rood of Time" by William Butler Yeats (1893)
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To the Dead in the Grave-Yard Under My Window
by Adelaide Crapsey (1878 - 1915)
The word “Oh” (line 8) serves mainly to express __________________.
Looking at the lines around line 8 (lines 6-10), we see that the speaker is exclaiming over the stillness and acquiescence of the dead. She says, "the very worms must scorn you..." and calls them "pallid mouldering...folk". Clearly the question in line 8 is intended not as a genuine request for information, but as an exclamation of impatience at the behavior (or lack of it) that she observes.
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1 Thou still unravish'd bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
5 What leaf-fring'd legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
9 What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
11 Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
15 Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
18 Though winning near the goal yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
21 Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
25 More happy love! more happy, happy love!
For ever warm and still to be enjoy'd,
For ever panting, and for ever young;
28 All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.
31 Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
35 What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
38 And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
41 O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
45 As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
48 Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know."
(1819)
The descriptor "mysterious" in line 32 emphasizes ________________.
The adjective "mysterious" in line 32 emphasizes the speaker's wonder at this ancient and therefore far-away world which he is looking at depicted in artwork. It is not so much the case that the speaker does not understand what the sacrifice means, or who the priest is or why he is depicted as doing what he is doing. Rather, the word "mysterious" reinforces the whole tone of the poem, which is one of wonder and awe.
Passage adapted from John Keats' "Ode on a Grecian Urn" (1819)
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Tyger! Tyger! burning bright,
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?
In what distant deeps or skies
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand dare seize the fire?
And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?
What the hammer? what the chain?
In what furnace was thy brain?
What the anvil? what dread grasp
Dare its deadly terrors clasp?
When the stars threw down their spears,
And water'd heaven with their tears,
Did he smile his work to see?
Did he who made the Lamb make thee?
Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?
(1794)
Why does the author include hammers, chains, furnaces, and anvils in stanza 4?
Blake wonders about God's motivations in creating a terrible tiger and includes descriptions of these tools to emphasize how God might create it. The terror of these tools might reveal some information on how a terrible creature was formed.
Passage adapted from William Blake's "The Tyger" (1794)
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I wonder, by my troth, what thou and I
Did, till we loved? Were we not weaned till then?
But sucked on country pleasures, childishly?
Or snorted we in the Seven Sleepers’ den?
’Twas so; but this, all pleasures fancies be.
If ever any beauty I did see,
Which I desired, and got, ’twas but a dream of thee.
And now good-morrow to our waking souls,
Which watch not one another out of fear;
For love, all love of other sights controls,
And makes one little room an everywhere.
Let sea-discoverers to new worlds have gone,
Let maps to other, worlds on worlds have shown,
Let us possess one world, each hath one, and is one.
My face in thine eye, thine in mine appears,
And true plain hearts do in the faces rest;
Where can we find two better hemispheres,
Without sharp north, without declining west?
Whatever dies, was not mixed equally;
If our two loves be one, or, thou and I
Love so alike, that none do slacken, none can die.
(1633)
The allusion to the “Seven Sleepers’ den” in line four serves to __________.
None of these goals is achieved by the allusion. In order to definitively choose one of the answers, the allusion would have to be direct and provable. Since none of these answers is accurate, there is no textual evidence to support this allusion.
Passage adapted from John Donne's "The Good Morrow" (1633).
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The Good Morrow
(1633)
I wonder, by my troth, what thou and I
Did, till we loved? Were we not weaned till then?
But sucked on country pleasures, childishly?
Or snorted we in the Seven Sleepers’ den?
’Twas so; but this, all pleasures fancies be.
If ever any beauty I did see,
Which I desired, and got, ’twas but a dream of thee.
And now good-morrow to our waking souls,
Which watch not one another out of fear;
For love, all love of other sights controls,
And makes one little room an everywhere.
Let sea-discoverers to new worlds have gone,
Let maps to other, worlds on worlds have shown,
Let us possess one world, each hath one, and is one.
My face in thine eye, thine in mine appears,
And true plain hearts do in the faces rest;
Where can we find two better hemispheres,
Without sharp north, without declining west?
Whatever dies, was not mixed equally;
If our two loves be one, or, thou and I
Love so alike, that none do slacken, none can die.
The transition from the first to second stanza is characterized by __________.
A change in meter: The last line of the first stanza is in iambic hexameter (stressed-unstressed, six feet), and the first line of the second stanza is iambic pentameter (stressed-unstressed, five feet).
A shift from past to present: In the second stanza, the speaker uses the word "now," and the verb tense shifts to the present ("waking").
A shift from contemplating physical love to romantic love: After spending stanza one thinking about "pleasures" and beauty "desired and got," the word "souls" in stanza two signals that now we are talking about a different kind of love.
A shift from contemplating general love to the particular beloved: At the end of stanza one, the word "thee" is a hinge that takes the speaker to the next stanza, where he will continue to describe his beloved.
Passage adapted from John Donne's "The Good Morrow" (1633).
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I wake and feel the fell of dark, not day.
What hours, O what black hours we have spent
This night! what sights you, heart, saw; ways you went!
And more must, in yet longer light's delay.
With witness I speak this. But where I say
Hours I mean years, mean life. And my lament
Is cries countless, cries like dead letters sent
To dearest him that lives alas! away.
I am gall, I am heartburn. God's most deep decree
Bitter would have me taste: my taste was me;
Bones built in me, flesh filled, blood brimmed the curse.
Selfyeast of spirit a dull dough sours. I see
The lost are like this, and their scourge to be
As I am mine, their sweating selves; but worse.
(1918)
The highlighted text most effectively conveys: __________.
The "black" hours, the "O," and the exclamation after "night" all serve to emphasize the speaker's lamentation and despair.
Though the emphasis on time might make "temporality" seem like a tempting answer, the particular time in which the poem takes place is not particularly significant. In the context of the poem's overall meaning, establishing tone is more important in these lines.
Passage adapted from "\[I wake and feel the fell of dark, not day\]" (1918) by Gerald Manley Hopkins.
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1. Better to see your cheek grown hollow,
2. Better to see your temple worn,
3. Than to forget to follow, follow,
4. After the sound of a silver horn.
5. Better to bind your brow with willow
6. And follow, follow until you die,
7. Than to sleep with your head on a golden pillow,
8. Nor lift it up when the hunt goes by.
9. Better to see your cheek grow sallow
10. And your hair grown gray, so soon, so soon,
11. Than to forget to hallo, hallo,
12. After the milk-white hounds of the moon.
The author’s reason for using the word “silver” to describe the “horn” (line 4) is likely all of the following EXCEPT _____________.
The poem says nothing about monetary values. The life represented by the horn is argued to be preferable to that represented by the pillow, but the objects themselves are metaphorical.
The word “silver” creates alliteration (“Sound of a Silver horn”.) It associates the horn with the night and the silver moonlight. Silver is a symbol of purity. The word heightens the image of a “milk white” hunt glowing brightly in the night.
Passage adapted from Eleanor Wylie's "A Madman's Song" (1921)
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In line 10, the poet contrasts the word “dust” with which word?
This line contains two pairs of contrasting words:
“die” and “live”
“dust” and “fame”
“. . . To DIE in DUST, but you shall LIVE by FAME.”
In other words: "They'll get death and dust -- you'll get life and fame."
Passage adapted from Edmund Spenser's "Sonnet 75" (1594)
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Adapted from "The Book of the Grotesque" in Winesburg, Ohio by Sherwood Anderson (1919)
In his bed the writer rolled over on his side and lay quite still. For years he had been beset with notions concerning his heart. He was a hard smoker and his heart fluttered. The idea had got into his mind that he would some time die unexpectedly and always when he got into bed he thought of that. It did not alarm him. The effect in fact was quite a special thing and not easily explained. It made him more alive, there in bed, than at any other time. Perfectly still he lay and his body was old and not of much use any more, but something inside him was altogether young. He was like a pregnant woman, only that the thing inside him was not a baby but a youth. No, it wasn’t a youth, it was a woman, young, and wearing a coat of mail like a knight. It is absurd, you see, to try to tell what was inside the old writer as he lay on his high bed and listened to the fluttering of his heart. The thing to get at is what the writer, or the young thing within the writer, was thinking about.
. . .
In the bed the writer had a dream that was not a dream. As he grew somewhat sleepy but was still conscious, figures began to appear before his eyes. He imagined the young indescribable thing within himself was driving a long procession of figures before his eyes.
You see the interest in all this lies in the figures that went before the eyes of the writer. They were all grotesques. All of the men and women the writer had ever known had become grotesques.
The grotesques were not all horrible. Some were amusing, some almost beautiful, and one, a woman all drawn out of shape, hurt the old man by her grotesqueness. When she passed he made a noise like a small dog whimpering. Had you come into the room you might have supposed the old man had unpleasant dreams or perhaps indigestion.
For an hour the procession of grotesques passed before the eyes of the old man, and then, although it was a painful thing to do, he crept out of bed and began to write. Some one of the grotesques had made a deep impression on his mind and he wanted to describe it.
At his desk the writer worked for an hour. In the end he wrote a book which he called “The Book of the Grotesque.” It was never published, but I saw it once and it made an indelible impression on my mind. The book had one central thought that is very strange and has always remained with me. By remembering it I have been able to understand many people and things that I was never able to understand before. The thought was involved but a simple statement of it would be something like this:
That in the beginning when the world was young there were a great many thoughts but no such thing as a truth. Man made the truths himself and each truth was a composite of a great many vague thoughts. All about in the world were the truths and they were all beautiful.
The old man had listed hundreds of the truths in his book. I will not try to tell you of all of them. There was the truth of virginity and the truth of passion, the truth of wealth and of poverty, of thrift and profligacy, of carelessness and abandon. Hundreds and hundreds were the truths and they were all beautiful.
And then the people came along. Each as he appeared snatched up one of the truths and some who were quite strong snatched up a dozen of them.
It was the truths that made the people grotesques. The old man had quite an elaborate theory concerning the matter. It was his notion that the moment one of the people took one of the truths to himself, called it his truth, and tried to live his life by it, he became a grotesque and the truth he embraced became a falsehood.
In paragraph six, the phrase "one central thought" most nearly means what?
The word "thought" can be replaced by "idea." The word "theme" would imply something more general, whereas the description of the "thought" —"That in the beginning the world was young . . ."—elucidates a specific idea.
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Adapted from Frankenstein by Mary Shelly (1818)
Shutting the door, \[the monster\] approached me and said in a smothered voice, "You have destroyed the work which you began; what is it that you intend? Do you dare to break your promise? I have endured toil and misery; I left Switzerland with you; I crept along the shores of the Rhine, among its willow islands and over the summits of its hills. I have dwelt many months in the heaths of England and among the deserts of Scotland. I have endured incalculable fatigue, and cold, and hunger; do you dare destroy my hopes?"
"Begone! I do break my promise; never will I create another like yourself, equal in deformity and wickedness."
"Slave, I before reasoned with you, but you have proved yourself unworthy of my condescension. Remember that I have power; you believe yourself miserable, but I can make you so wretched that the light of day will be hateful to you. You are my creator, but I am your master; obey!"
"The hour of my irresolution is past, and the period of your power is arrived. Your threats cannot move me to do an act of wickedness, but they confirm me in a determination of not creating you a companion in vice. Shall I, in cool blood, set loose upon the earth a daemon whose delight is in death and wretchedness? Begone! I am firm, and your words will only exasperate my rage."
The monster saw my determination in my face and gnashed his teeth in the impotence of anger. "Shall each man," cried he, "find a wife for his bosom, and each beast have his mate, and I be alone? I had feelings of affection, and they were requited by detestation and scorn. Man! You may hate, but beware! Your hours will pass in dread and misery, and soon the bolt will fall which must ravish from you your happiness forever. Are you to be happy while I grovel in the intensity of my wretchedness? You can blast my other passions, but revenge remains—revenge, henceforth dearer than light or food! I may die, but first you, my tyrant and tormentor, shall curse the sun that gazes on your misery. Beware, for I am fearless and therefore powerful. I will watch with the wiliness of a snake, that I may sting with its venom. Man, you shall repent of the injuries you inflict."
"Devil, cease; and do not poison the air with these sounds of malice. I have declared my resolution to you, and I am no coward to bend beneath words. Leave me; I am inexorable."
"It is well. I go; but remember, I shall be with you on your wedding night."
I started forward and exclaimed, "Villain! Before you sign my death-warrant, be sure that you are yourself safe."
I would have seized him, but he eluded me and quit the house with precipitation. In a few moments I saw him in his boat, which shot across the waters with an arrowy swiftness and was soon lost amidst the waves.
All was again silent, but his words rang in my ears. I burned with rage to pursue the murderer of my peace and precipitate him into the ocean. I walked up and down my room hastily and perturbed, while my imagination conjured up a thousand images to torment and sting me. Why had I not followed him and closed with him in mortal strife? But I had suffered him to depart, and he had directed his course towards the mainland. I shuddered to think who might be the next victim sacrificed to his insatiate revenge. And then I thought again of his words—"I WILL BE WITH YOU ON YOUR WEDDING NIGHT." That, then, was the period fixed for the fulfillment of my destiny. In that hour I should die and at once satisfy and extinguish his malice. The prospect did not move me to fear; yet when I thought of my beloved Elizabeth, of her tears and endless sorrow, when she should find her lover so barbarously snatched from her, tears, the first I had shed for many months, streamed from my eyes, and I resolved not to fall before my enemy without a bitter struggle.
What is the purpose of the underlined remark made by the monster?
Certainly, the monster makes the remark to Dr. Frankenstein in order to increase the fright of the situation and maintain his control over his maker; however, in this sentence, the most direct reason for making this comment is to emphasize the kind of power that the monster has. Yes, Dr. Frankenstein already believes himself to be miserable because of the monster. However, the monster wants him to remember that he can do more than merely make him miserable—he can make Dr. Frankenstein "so wretched that the light of day will be hateful to you."
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From Frankenstein by Mary Shelly
Shutting the door, he \[the monster\] approached me and said in a smothered voice, "You have destroyed the work which you began; what is it that you intend? Do you dare to break your promise? I have endured toil and misery; I left Switzerland with you; I crept along the shores of the Rhine, among its willow islands and over the summits of its hills. I have dwelt many months in the heaths of England and among the deserts of Scotland. I have endured incalculable fatigue, and cold, and hunger; do you dare destroy my hopes?"
"Begone! I do break my promise; never will I create another like yourself, equal in deformity and wickedness."
"Slave, I before reasoned with you, but you have proved yourself unworthy of my condescension. Remember that I have power; you believe yourself miserable, but I can make you so wretched that the light of day will be hateful to you. You are my creator, but I am your master; obey!"
"The hour of my irresolution is past, and the period of your power is arrived. Your threats cannot move me to do an act of wickedness; but they confirm me in a determination of not creating you a companion in vice. Shall I, in cool blood, set loose upon the earth a daemon whose delight is in death and wretchedness? Begone! I am firm, and your words will only exasperate my rage."
The monster saw my determination in my face and gnashed his teeth in the impotence of anger. "Shall each man," cried he, "find a wife for his bosom, and each beast have his mate, and I be alone? I had feelings of affection, and they were requited by detestation and scorn. Man! You may hate, but beware! Your hours will pass in dread and misery, and soon the bolt will fall which must ravish from you your happiness forever. Are you to be happy while I grovel in the intensity of my wretchedness? You can blast my other passions, but revenge remains--revenge, henceforth dearer than light or food! I may die, but first you, my tyrant and tormentor, shall curse the sun that gazes on your misery. Beware, for I am fearless and therefore powerful. I will watch with the wiliness of a snake, that I may sting with its venom. Man, you shall repent of the injuries you inflict."
"Devil, cease; and do not poison the air with these sounds of malice. I have declared my resolution to you, and I am no coward to bend beneath words. Leave me; I am inexorable."
"It is well. I go; but remember, I shall be with you on your wedding-night."
I started forward and exclaimed, "Villain! Before you sign my death-warrant, be sure that you are yourself safe."
I would have seized him, but he eluded me and quitted the house with precipitation. In a few moments I saw him in his boat, which shot across the waters with an arrowy swiftness and was soon lost amidst the waves.
All was again silent, but his words rang in my ears. I burned with rage to pursue the murderer of my peace and precipitate him into the ocean. I walked up and down my room hastily and perturbed, while my imagination conjured up a thousand images to torment and sting me. Why had I not followed him and closed with him in mortal strife? But I had suffered him to depart, and he had directed his course towards the mainland. I shuddered to think who might be the next victim sacrificed to his insatiate revenge. And then I thought again of his words--"I WILL BE WITH YOU ON YOUR WEDDING-NIGHT." That, then, was the period fixed for the fulfillment of my destiny. In that hour I should die and at once satisfy and extinguish his malice. The prospect did not move me to fear; yet when I thought of my beloved Elizabeth, of her tears and endless sorrow, when she should find her lover so barbarously snatched from her, tears, the first I had shed for many months, streamed from my eyes, and I resolved not to fall before my enemy without a bitter struggle.
The expression "lex talionis" describes a kind of action (or legal system) that aims at establishing justice by exact retribution. Which of the following sentences from the selection most evokes the retribution demanded by this kind of law?
Pure retribution according to the idea of the lex talionis is best summed up in the old adage, "An eye for an eye; a tooth for a tooth." This is a kind of revenge—but of a particular sort. The monster is going to avenge himself on Dr. Frankenstein because of the latter's refusal to make him a bride. Hence, the monster is going to bereave him of his own bride.
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From The Red Badge of Courage by Stephen Crane (1895)
After complicated journeyings with many pauses, there had come months of monotonous life in a camp. He had had the belief that real war was a series of death struggles with small time in between for sleep and meals; but since his regiment had come to the field the army had done little but sit still and try to keep warm.
He was brought then gradually back to his old ideas. Greek-like struggles would be no more. Men were better, or more timid. Secular and religious education had effaced the throat-grappling instinct, or else firm finance held in check the passions.
He had grown to regard himself merely as a part of a vast blue demonstration. His province was to look out, as far as he could, for his personal comfort. For recreation he could twiddle his thumbs and speculate on the thoughts which must agitate the minds of the generals. Also, he was drilled and drilled and reviewed, and drilled and drilled and reviewed.
The only foes he had seen were some pickets along the river bank. They were a sun-tanned, philosophical lot, who sometimes shot reflectively at the blue pickets. When reproached for this afterward, they usually expressed sorrow, and swore by their gods that the guns had exploded without their permission. The youth, on guard duty one night, conversed across the stream with one of them. He was a slightly ragged man, who spat skillfully between his shoes and possessed a great fund of bland and infantile assurance. The youth liked him personally.
"Yank," the other had informed him, "yer a right dum good feller." This sentiment, floating to him upon the still air, had made him temporarily regret war.
Various veterans had told him tales. Some talked of gray, bewhiskered hordes who were advancing with relentless curses and chewing tobacco with unspeakable valor; tremendous bodies of fierce soldiery who were sweeping along like the Huns. Others spoke of tattered and eternally hungry men who fired despondent powders. "They'll charge through hell's fire an' brimstone t' git a holt on a haversack, an' sech stomachs ain't a'lastin' long," he was told. From the stories, the youth imagined the red, live bones sticking out through slits in the faded uniforms.
Still, he could not put a whole faith in veteran's tales, for recruits were their prey. They talked much of smoke, fire, and blood, but he could not tell how much might be lies. They persistently yelled "Fresh fish!" at him, and were in no wise to be trusted.
However, he perceived now that it did not greatly matter what kind of soldiers he was going to fight, so long as they fought, which fact no one disputed. There was a more serious problem. He lay in his bunk pondering upon it. He tried to mathematically prove to himself that he would not run from a battle.
Previously he had never felt obliged to wrestle too seriously with this question. In his life he had taken certain things for granted, never challenging his belief in ultimate success, and bothering little about means and roads. But here he was confronted with a thing of moment. It had suddenly appeared to him that perhaps in a battle he might run. He was forced to admit that as far as war was concerned he knew nothing of himself.
A sufficient time before he would have allowed the problem to kick its heels at the outer portals of his mind, but now he felt compelled to give serious attention to it.
What is the effect of the language used by the character in the underlined selection?
The strange transcription of the discussion is the author's attempt to express the phonetics of the soldiers. This requires him to avoid using standard spellings. While we could infer that the soldiers are perhaps not too intelligent, the author's primary purpose here is to capture and express the sound of the speaker's talking.
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Adapted from A Modest Proposal by Jonathan Swift (1729)
The number of souls in this kingdom being usually reckoned one million and a half, of these I calculate there may be about two hundred thousand couple whose wives are breeders; from which number I subtract thirty thousand couples who are able to maintain their own children, although I apprehend there cannot be so many, under the present distresses of the kingdom; but this being granted, there will remain an hundred and seventy thousand breeders. I again subtract fifty thousand for those women who miscarry, or whose children die by accident or disease within the year. There only remains one hundred and twenty thousand children of poor parents annually born. The question therefore is, how this number shall be reared and provided for, which, as I have already said, under the present situation of affairs, is utterly impossible by all the methods hitherto proposed. For we can neither employ them in handicraft or agriculture; we neither build houses (I mean in the country) nor cultivate land: they can very seldom pick up a livelihood by stealing, till they arrive at six years old, except where they are of towardly parts, although I confess they learn the rudiments much earlier, during which time, they can however be properly looked upon only as probationers, as I have been informed by a principal gentleman in the county of Cavan, who protested to me that he never knew above one or two instances under the age of six, even in a part of the kingdom so renowned for the quickest proficiency in that art.
I am assured by our merchants, that a boy or a girl before twelve years old is no salable commodity; and even when they come to this age they will not yield above three pounds, or three pounds and half-a-crown at most on the exchange; which cannot turn to account either to the parents or kingdom, the charge of nutriment and rags having been at least four times that value.
I shall now therefore humbly propose my own thoughts, which I hope will not be liable to the least objection.
I have been assured by a very knowing American of my acquaintance in London, that a young healthy child well nursed is at a year old a most delicious, nourishing, and wholesome food, whether stewed, roasted, baked, or boiled; and I make no doubt that it will equally serve in a fricassee or a ragout.
I do therefore humbly offer it to public consideration that of the hundred and twenty thousand children already computed, twenty thousand may be reserved for breed, whereof only one-fourth part to be males; which is more than we allow to sheep, black cattle or swine; and my reason is, that these children are seldom the fruits of marriage, a circumstance not much regarded by our savages, therefore one male will be sufficient to serve four females. That the remaining hundred thousand may, at a year old, be offered in the sale to the persons of quality and fortune through the kingdom; always advising the mother to let them suck plentifully in the last month, so as to render them plump and fat for a good table. A child will make two dishes at an entertainment for friends; and when the family dines alone, the fore or hind quarter will make a reasonable dish, and seasoned with a little pepper or salt will be very good boiled on the fourth day, especially in winter.
I have reckoned upon a medium that a child just born will weigh 12 pounds, and in a solar year, if tolerably nursed, increaseth to 28 pounds.
I grant this food will be somewhat dear, and therefore very proper for landlords, who, as they have already devoured most of the parents, seem to have the best title to the children.
What is the denotation of "title" as used in the last sentence?
"Title," as used in the last sentence, is best understood in a legal sense as referring to a right or claim to the ownership or property. For example, one has the "title" on one's car. Specifically, the landlords have the claim to the children for purposes of consumption.
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Adapted from A Modest Proposal by Jonathan Swift (1729)
The number of souls in this kingdom being usually reckoned one million and a half, of these I calculate there may be about two hundred thousand couple whose wives are breeders; from which number I subtract thirty thousand couples who are able to maintain their own children, although I apprehend there cannot be so many, under the present distresses of the kingdom; but this being granted, there will remain an hundred and seventy thousand breeders. I again subtract fifty thousand for those women who miscarry, or whose children die by accident or disease within the year. There only remains one hundred and twenty thousand children of poor parents annually born. The question therefore is, how this number shall be reared and provided for, which, as I have already said, under the present situation of affairs, is utterly impossible by all the methods hitherto proposed. For we can neither employ them in handicraft or agriculture; we neither build houses (I mean in the country) nor cultivate land: they can very seldom pick up a livelihood by stealing, till they arrive at six years old, except where they are of towardly parts, although I confess they learn the rudiments much earlier, during which time, they can however be properly looked upon only as probationers, as I have been informed by a principal gentleman in the county of Cavan, who protested to me that he never knew above one or two instances under the age of six, even in a part of the kingdom so renowned for the quickest proficiency in that art.
I am assured by our merchants, that a boy or a girl before twelve years old is no salable commodity; and even when they come to this age they will not yield above three pounds, or three pounds and half-a-crown at most on the exchange; which cannot turn to account either to the parents or kingdom, the charge of nutriment and rags having been at least four times that value.
I shall now therefore humbly propose my own thoughts, which I hope will not be liable to the least objection.
I have been assured by a very knowing American of my acquaintance in London, that a young healthy child well nursed is at a year old a most delicious, nourishing, and wholesome food, whether stewed, roasted, baked, or boiled; and I make no doubt that it will equally serve in a fricassee or a ragout.
I do therefore humbly offer it to public consideration that of the hundred and twenty thousand children already computed, twenty thousand may be reserved for breed, whereof only one-fourth part to be males; which is more than we allow to sheep, black cattle or swine; and my reason is, that these children are seldom the fruits of marriage, a circumstance not much regarded by our savages, therefore one male will be sufficient to serve four females. That the remaining hundred thousand may, at a year old, be offered in the sale to the persons of quality and fortune through the kingdom; always advising the mother to let them suck plentifully in the last month, so as to render them plump and fat for a good table. A child will make two dishes at an entertainment for friends; and when the family dines alone, the fore or hind quarter will make a reasonable dish, and seasoned with a little pepper or salt will be very good boiled on the fourth day, especially in winter.
I have reckoned upon a medium that a child just born will weigh 12 pounds, and in a solar year, if tolerably nursed, increaseth to 28 pounds.
I grant this food will be somewhat dear, and therefore very proper for landlords, who, as they have already devoured most of the parents, seem to have the best title to the children.
Which of the following best describes the function of the last sentence of the passage?
The last sentence sarcastically underscores the passage's overall point, as well as making more clearly directing the essay's criticism towards landlords, specifically. The use of "devoured" effectively makes clear, even through the sarcasm of the rest of the passage, that the author's target is not babies, but the landlords that he feels have facilitated the deprivation and poverty in his country.
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Passage adapted from “Reconstruction” by Frederick Douglass (1866)
Without attempting to settle here the metaphysical and somewhat theological question (about which so much has already been said and written), whether once in the Union means always in the Union—agreeably to the formula, “Once in grace always in grace”—it is obvious to common sense that the rebellious States stand today, in point of law, precisely where they stood when, exhausted, beaten, conquered, they fell powerless at the feet of Federal authority. Their State governments were overthrown, and the lives and property of the leaders of the Rebellion were forfeited. In reconstructing the institutions of these shattered and overthrown States, Congress should begin with a clean slate, and make clean work of it.
Let there be no hesitation. It would be a cowardly deference to a defeated and treacherous President, if any account were made of the illegitimate, one-sided, sham governments hurried into existence for a malign purpose in the absence of Congress. These pretended governments, which were never submitted to the people, and from participation in which four millions of the loyal people were excluded by Presidential order, should now be treated according to their true character, as shams and impositions, and supplanted by true and legitimate governments, in the formation of which loyal men, black and white, shall participate.
It is not, however, within the scope of this paper to point out the precise steps to be taken, and the means to be employed. The people are less concerned about these than the grand end to be attained. They demand such a reconstruction as shall put an end to the present anarchical state of things in the late rebellious States—where frightful murders and wholesale massacres are perpetrated in the very presence of Federal soldiers. This horrible business they require shall cease. They want a reconstruction such as will protect loyal men, black and white, in their persons and property; such a one as will cause Northern industry, Northern capital, and Northern civilization to flow into the South, and make a man from New England as much at home in Carolina as elsewhere in the Republic. No Chinese wall can now be tolerated. The South must be opened to the light of law and liberty, and this session of Congress is relied upon to accomplish this important work.
What is the purpose of the expression, "Once in grace always in grace"?
At the beginning of the passage, Douglass sets aside the more philosophical and "somewhat theological" problems that might be involved in a detailed discussion of reconstruction after the American Civil War. The expression in question is related to Christian notions of salvation. Thus, he is paralleling the political issue expressed as, "Once in the Union means always in the Union," with this more theological notion, namely, "Once in grace always in grace." Of course, given his stated desires, he does not wish to go into the details of this parallel here.
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(1) We had taken up an oil-stove once, but “never again.” (2) It had been like living in an oil-shop that week. (3) It oozed. (4) I never saw such a thing as paraffin oil is to ooze. (5) We kept it in the nose of the boat, and, from there, it oozed down to the rudder, impregnating the whole boat and everything in it on its way, and it oozed over the river, and saturated the scenery and spoilt the atmosphere. (6) Sometimes a westerly oily wind blew, and at other times an easterly oily wind, and sometimes it blew a northerly oily wind, and maybe a southerly oily wind; but whether it came from the Arctic snows, or was raised in the waste of the desert sands, it came alike to us laden with the fragrance of paraffin oil.
(7) And that oil oozed up and ruined the sunset; and as for the moonbeams, they positively reeked of paraffin.
Why does the author of the passage repeat “ooze” so many times?
“Ooze” itself is a funny and onomatopoeic word. The author’s deliberate repetition can be seen as a ploy to invoke humor. Just as the paraffin oil does not stop spreading through the boat and tainting everything it touches, so too the description itself continues to spread and spread.
Passage adapted from Jerome K. Jerome’s Three Men in a Boat (1889).
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(1) From the listless repose of the place, and the peculiar character of its inhabitants, who are descendants from the original Dutch settlers, this sequestered glen has long been known by the name of Sleepy Hollow, and its rustic lads are called the Sleepy Hollow Boys throughout all the neighboring country. (2) A drowsy, dreamy influence seems to hang over the land, and to pervade the very atmosphere. (3) Some say that the place was bewitched by a High German doctor, during the early days of the settlement; others, that an old Indian chief, the prophet or wizard of his tribe, held his powwows there before the country was discovered by Master Hendrick Hudson. (4) Certain it is, the place still continues under the sway of some witching power, that holds a spell over the minds of the good people, causing them to walk in a continual reverie. (5) They are given to all kinds of marvelous beliefs, are subject to trances and visions, and frequently see strange sights, and hear music and voices in the air. (6) The whole neighborhood abounds with local tales, haunted spots, and twilight superstitions; stars shoot and meteors glare oftener across the valley than in any other part of the country, and the nightmare, with her whole ninefold, seems to make it the favorite scene of her gambols.
(1820)
What is the main effect of this passage?
The passage is primarily concerned with describing the location and atmosphere of Sleepy Hollow. It does so through great use of detail, through slight exaggeration (hyperbole), and through recounting of a historical record. While the passage is taken from a story that describes a famous ghost, the passage itself is not concerned with introducing this character.
Passage adapted from Washington Irving’s “The Legend of Sleepy Hollow” (1820)
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“Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else. You can only form the minds of reasoning animals upon Facts: nothing else will ever be of any service to them. This is the principle on which I bring up my own children, and this is the principle on which I bring up these children. Stick to Facts, sir!”
… The speaker, and the schoolmaster, and the third grown person present, all backed a little, and swept with their eyes the inclined plane of little vessels then and there arranged in order, ready to have imperial gallons of facts poured into them until they were full to the brim.
What is the author’s primary reason for capitalizing “Facts”?
Capitalizing “Facts” may emphasize their importance to the speaker but not to the reader, as the passage is clearly designed to criticize the speaker’s opinions. Capitalizing “Facts” shows that they are paramount in the speaker’s mind. (Consider the capitalization of deities’ names, for example.)
Passage adapted from Charles Dickens’s Hard Times (1854)
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1 Thirty years ago, Marseilles lay burning in the sun, one day.
2 A blazing sun upon a fierce August day was no greater rarity in southern France then, than at any other time, before or since. 3 Everything in Marseilles, and about Marseilles, had stared at the fervid sky, and been stared at in return, until a staring habit had become universal there. 4 Strangers were stared out of countenance by staring white houses, staring white walls, staring white streets, staring tracts of arid road, staring hills from which verdure was burnt away. 5 The only things to be seen not fixedly staring and glaring were the vines drooping under their load of grapes. 6 These did occasionally wink a little, as the hot air barely moved their faint leaves.
… 7 The churches were the freest from \[the stare\]. 8 To come out of the twilight of pillars and arches—dreamily dotted with winking lamps, dreamily peopled with ugly old shadows piously dozing, spitting, and begging—was to plunge into a fiery river, and swim for life to the nearest strip of shade. 9 So, with people lounging and lying wherever shade was, with but little hum of tongues or barking of dogs, with occasional jangling of discordant church bells and rattling of vicious drums, Marseilles, a fact to be strongly smelt and tasted, lay broiling in the sun one day.
What is the primary purpose of this passage?
The tone of the passage does not change or contradict itself, and the only characters here are nameless townspeople and strangers. While the passage does contain vivid imagery, that is not its only purpose. The passage is mainly establishing the details of the city in the midst of a summer heat wave: in other words, it is establishing setting.
Passage adapted from Charles Dickens’ Little Dorrit (1857)
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