{"id":23255,"date":"2022-01-06T07:05:46","date_gmt":"2022-01-06T07:05:46","guid":{"rendered":"https:\/\/assignmenttutors.net\/blog\/english-questions-english-homework-help\/"},"modified":"2022-01-06T07:05:46","modified_gmt":"2022-01-06T07:05:46","slug":"english-questions-english-homework-help","status":"publish","type":"post","link":"https:\/\/assignmenttutors.net\/blog\/english-questions-english-homework-help\/","title":{"rendered":"English questions | English homework help"},"content":{"rendered":"
\n

\u00a0Directions<\/strong><\/u>\u00a0<\/p>\n

\u00b7 Mark your answers to the multiple-choice questions on the answer sheet at the end of the multiple-choice section. Use a black or blue pen.<\/p>\n

\u00b7 Remember to complete the submission information on every <\/strong>page you turn in.<\/p>\n

Questions 1-14 are based on the following lines from <\/strong>Twelfth Night <\/strong><\/em>by William Shakespeare (1564-1616). In these lines, Viola (dressed as a man) and Duke Orsino offer different views of love. Read the passage carefully before answering the questions that follow.\u00a0<\/strong><\/p>\n

VIOLA But if she cannot love you, sir?<\/p>\n

DUKE ORSINO \u00a0I cannot be so answer\u2019d.<\/p>\n

VIOLA \u00a0Sooth, but you must.<\/p>\n

(Line) <\/em>\u00a0\u00a0Say that some lady, as perhaps there is,<\/p>\n

5 \u00a0Hath for your love a great a pang of heart<\/p>\n

As you have for Olivia: you cannot love her;<\/p>\n

You tell her so; must she not then be answer\u2019d?<\/p>\n

DUKE ORSINO \u00a0There is no woman\u2019s sides<\/p>\n

Can bide* the beating of so strong a passion \u00a0*tolerate, abide<\/p>\n

10 \u00a0As love doth give my heart; no woman\u2019s heart<\/p>\n

So big, to hold so much; they lack retention<\/p>\n

Alas, their love may be call\u2019d appetite,<\/p>\n

No motion of the liver, but the palate,<\/p>\n

That suffer surfeit, cloyment and revolt*; \u00a0*abhorrence<\/p>\n

15 \u00a0But mine is all as hungry as the sea,<\/p>\n

And can digest as much: make no compare<\/p>\n

Between that love a woman can bear me<\/p>\n

And that I owe Olivia.<\/p>\n

VIOLA \u00a0Ay, but I know–<\/p>\n

20 \u00a0DUKE ORSINO \u00a0What dost thou know?<\/p>\n

VIOLA \u00a0Too well what love women to men may owe:<\/p>\n

In faith, they are as true of heart as we.<\/p>\n

My father had a daughter loved a man,<\/p>\n

As it might be, perhaps, were I a woman,<\/p>\n

25 \u00a0I should your lordship.<\/p>\n

DUKE ORSINO \u00a0And what\u2019s her history?<\/p>\n

VIOLA \u00a0A blank, my lord. She never told her love,<\/p>\n

But let concealment, like a worm i\u2019 the bud,<\/p>\n

Feed on her damask* cheek: she pined in thought, \u00a0*healthy, red<\/p>\n

30 \u00a0And with a green and yellow melancholy<\/p>\n

She sat like patience on a monument,<\/p>\n

Smiling at grief. Was not this love indeed?<\/p>\n

We men may say more, swear more: but indeed<\/p>\n

Our shows are more than will; for still we prove<\/p>\n

35 \u00a0Much in our vows, but little in our love.<\/p>\n

1.<\/strong> In line 1, who is the “she” to whom Viola refers?<\/p>\n

    \n
  1. Feste<\/li>\n
  2. Maria<\/li>\n
  3. Olivia<\/li>\n
  4. Viola<\/li>\n
  5. Any \u00a0\u00a0\u00a0\u00a0\u00a0charming woman<\/li>\n<\/ol>\n

    2.<\/strong> Line 24, “As it might be, perhaps, were I a woman,” is:<\/p>\n

      \n
    1. instructive.<\/li>\n
    2. ironic.<\/li>\n
    3. meaningful.<\/li>\n
    4. sarcastic.<\/li>\n
    5. satirical.<\/li>\n<\/ol>\n

      3.<\/strong> In lines 8-18, Orsino offers all of the following reasons to prove that his love cannot be reciprocated by a woman except:<\/strong><\/p>\n

        \n
      1. his \u00a0\u00a0\u00a0\u00a0\u00a0heart is bigger than a woman\u2019s heart.<\/li>\n
      2. women\u2019s \u00a0\u00a0\u00a0\u00a0\u00a0hearts lack retention.<\/li>\n
      3. a \u00a0\u00a0\u00a0\u00a0\u00a0woman\u2019s love is mere appetite.<\/li>\n
      4. women are as hungry as the sea.<\/li>\n
      5. his \u00a0\u00a0\u00a0\u00a0\u00a0passion is extremely strong.<\/li>\n<\/ol>\n

        4.<\/strong> In line 11, the phrase “lack retention” is contrasted with:<\/p>\n

          \n
        1. “be \u00a0\u00a0\u00a0\u00a0\u00a0call\u2019d appetite” (line 12)<\/li>\n
        2. “sides \u00a0\u00a0\u00a0\u00a0\u00a0\/ can hide” (line 10)<\/li>\n
        3. “That \u00a0\u00a0\u00a0\u00a0\u00a0suffer surfeit” (line 14)<\/li>\n
        4. “love \u00a0\u00a0\u00a0\u00a0\u00a0doth give” (line 10)<\/li>\n
        5. “to hold so much” (line 11)<\/li>\n<\/ol>\n

          5.<\/strong> It\u2019s possible to infer that Orsino believes “the liver” (line 13) is:<\/p>\n

            \n
          1. subject \u00a0\u00a0\u00a0\u00a0\u00a0to revolt.<\/li>\n
          2. likely \u00a0\u00a0\u00a0\u00a0\u00a0to lack retention.<\/li>\n
          3. the seat of true love.<\/li>\n
          4. less \u00a0\u00a0\u00a0\u00a0\u00a0genuine than the palate.<\/li>\n
          5. more \u00a0\u00a0\u00a0\u00a0\u00a0common to women\u2019s love than to men\u2019s.<\/li>\n<\/ol>\n

            \u00a0\u00a0<\/p>\n

            6.<\/strong> In line 15, “mine” stands for Duke Orsino\u2019s:<\/p>\n

              \n
            1. palate.<\/li>\n
            2. mind.<\/li>\n
            3. liver.<\/li>\n
            4. love.<\/li>\n
            5. spleen.<\/li>\n<\/ol>\n

              7.<\/strong> What is the mood of this passage?<\/p>\n

                \n
              1. Dour<\/li>\n
              2. Desiring<\/li>\n
              3. Suspenseful<\/li>\n
              4. Surprising<\/li>\n
              5. Pedantic<\/li>\n<\/ol>\n

                8.<\/strong> In line 15, the phrase, “But mine is all as hungry as the sea,” contains:<\/p>\n

                  \n
                1. internal \u00a0\u00a0\u00a0\u00a0\u00a0rhyme.<\/li>\n
                2. hyperbole.<\/li>\n
                3. metaphor.<\/li>\n
                4. onomatopoeia.<\/li>\n
                5. synecdoche.<\/li>\n<\/ol>\n

                  9.<\/strong> In line 26, when the Duke asks, “[a]nd what\u2019s her history?” he means:<\/p>\n

                    \n
                  1. What\u2019s \u00a0\u00a0\u00a0\u00a0\u00a0her title?<\/li>\n
                  2. How \u00a0\u00a0\u00a0\u00a0\u00a0old is she?<\/li>\n
                  3. Where \u00a0\u00a0\u00a0\u00a0\u00a0does she come from?<\/li>\n
                  4. Whom does she love?<\/li>\n
                  5. All \u00a0\u00a0\u00a0\u00a0\u00a0of the above<\/li>\n<\/ol>\n

                    10.<\/strong> Which of the following best <\/strong>paraphrases lines 27-35?<\/p>\n

                      \n
                    1. She \u00a0\u00a0\u00a0\u00a0\u00a0egotistically hides her errors and never keeps her promises.<\/li>\n
                    2. She \u00a0\u00a0\u00a0\u00a0\u00a0works hard at gardening and likes to talk to her friends.<\/li>\n
                    3. She \u00a0\u00a0\u00a0\u00a0\u00a0hides her grief and says little; men talk more.<\/li>\n
                    4. Men are egotistical and conceal much \u00a0\u00a0\u00a0\u00a0\u00a0more about their loves than women do.<\/li>\n
                    5. Men \u00a0\u00a0\u00a0\u00a0\u00a0are talkative; women are patient and beautiful.<\/li>\n<\/ol>\n

                      11.<\/strong> In lines 28-29, “But let concealment, like a worm i\u2019 the bud, \/ Feed on her damask cheek” provides an example of what poetic device?<\/p>\n

                        \n
                      1. Alliteration<\/li>\n
                      2. Apostrophe<\/li>\n
                      3. Metaphor<\/li>\n
                      4. Onomatopoeia<\/li>\n
                      5. Simile<\/li>\n<\/ol>\n

                        \u00a0\u00a0<\/p>\n

                        12.<\/strong> In line 29, who is “She” to whom Viola refers?<\/p>\n

                          \n
                        1. Feste<\/li>\n
                        2. Maria<\/li>\n
                        3. Olivia<\/li>\n
                        4. Viola<\/li>\n
                        5. Any \u00a0\u00a0\u00a0\u00a0\u00a0charming woman<\/li>\n<\/ol>\n

                          13.<\/strong> This passage is written in:<\/p>\n

                            \n
                          1. blank verse.<\/li>\n
                          2. free \u00a0\u00a0\u00a0\u00a0\u00a0verse.<\/li>\n
                          3. heroic \u00a0\u00a0\u00a0\u00a0\u00a0couplets.<\/li>\n
                          4. internal \u00a0\u00a0\u00a0\u00a0\u00a0rhyme.<\/li>\n
                          5. terza \u00a0\u00a0\u00a0\u00a0\u00a0rima<\/em>.<\/li>\n<\/ol>\n

                            14.<\/strong> Which of the following best <\/strong>summarizes the idea Viola expresses in lines 33-35?<\/p>\n

                              \n
                            1. Men \u00a0\u00a0\u00a0\u00a0\u00a0are foul-mouthed and willful.<\/li>\n
                            2. Men \u00a0\u00a0\u00a0\u00a0\u00a0and women smile at grief.<\/li>\n
                            3. Men talk a lot, but that doesn\u2019t prove \u00a0\u00a0\u00a0\u00a0\u00a0their love.<\/li>\n
                            4. All \u00a0\u00a0\u00a0\u00a0\u00a0of the above<\/li>\n
                            5. None \u00a0\u00a0\u00a0\u00a0\u00a0of the above<\/li>\n<\/ol>\n

                              Questions 15-22 are based on the following poem by Robert Herrick (1591-1674). Read the poem carefully before answering the questions that follow.\u00a0<\/strong><\/p>\n

                              The Argument Of His Book\u00a0<\/strong><\/p>\n

                              I sing of brooks, of blossoms, birds, and bowers,<\/p>\n

                              Of April, May, of June, and July-flowers;<\/p>\n

                              I sing of May-poles, hock-carts,* wassails,** wakes, \u00a0*harvest-carrying carts **toasts<\/p>\n

                              (Line) <\/em>\u00a0Of bride-grooms, brides, and of their bridal-cakes.<\/p>\n

                              5 \u00a0I write of Youth, of Love;–and have access<\/p>\n

                              By these, to sing of cleanly wantonness;<\/p>\n

                              I sing of dews, of rains, and, piece by piece,<\/p>\n

                              Of balm, of oil, of spice, and ambergris.* \u00a0*whale-product used to make perfumes;\u00a0<\/p>\n

                              I sing of times trans-shifting; and I write \u00a0\u00a0a rarity<\/p>\n

                              10 \u00a0How roses first came red, and lilies white.<\/p>\n

                              I write of groves, of twilights, and I sing<\/p>\n

                              The court of Mab,* and of the Fairy King. \u00a0*queen of the fairies<\/p>\n

                              I write of Hell; I sing, and ever shall<\/p>\n

                              Of Heaven,–and hope to have it after all.<\/p>\n

                              15.<\/strong> This poem is in the form of a(n):<\/p>\n

                                \n
                              1. elegy.<\/li>\n
                              2. epic.<\/li>\n
                              3. lyric.<\/li>\n
                              4. madrigal.<\/li>\n
                              5. sonnet.<\/li>\n<\/ol>\n

                                16.<\/strong> The poem\u2019s rhyme scheme is formed by:<\/p>\n

                                  \n
                                1. end-stopped \u00a0\u00a0\u00a0\u00a0\u00a0lines.<\/li>\n
                                2. free \u00a0\u00a0\u00a0\u00a0\u00a0verse.<\/li>\n
                                3. heroic \u00a0\u00a0\u00a0\u00a0\u00a0couplets.<\/li>\n
                                4. kennings.<\/li>\n
                                5. slant \u00a0\u00a0\u00a0\u00a0\u00a0rhyme.<\/li>\n<\/ol>\n

                                  17.<\/strong> The shift in the poem occurs after:<\/p>\n

                                    \n
                                  1. line \u00a0\u00a0\u00a0\u00a0\u00a04.<\/li>\n
                                  2. line \u00a0\u00a0\u00a0\u00a0\u00a06.<\/li>\n
                                  3. line \u00a0\u00a0\u00a0\u00a0\u00a08.<\/li>\n
                                  4. line \u00a0\u00a0\u00a0\u00a0\u00a010.<\/li>\n
                                  5. line \u00a0\u00a0\u00a0\u00a0\u00a012.<\/li>\n<\/ol>\n

                                    18.<\/strong> The poem employs which of the following devices?<\/p>\n

                                      \n
                                    1. Soliloquy<\/li>\n
                                    2. Anaphora<\/li>\n
                                    3. Analogy<\/li>\n
                                    4. Apostrophe<\/li>\n
                                    5. Simile<\/li>\n<\/ol>\n

                                      19.<\/strong> Which phrase best <\/strong>captures the tone of the poem?<\/p>\n

                                        \n
                                      1. Wanton \u00a0\u00a0\u00a0\u00a0\u00a0joy<\/li>\n
                                      2. Rainy \u00a0\u00a0\u00a0\u00a0\u00a0despair<\/li>\n
                                      3. Blossoming \u00a0\u00a0\u00a0\u00a0\u00a0creation<\/li>\n
                                      4. Everlasting \u00a0\u00a0\u00a0\u00a0\u00a0destruction<\/li>\n
                                      5. Perpetual \u00a0\u00a0\u00a0\u00a0\u00a0sadness<\/li>\n<\/ol>\n

                                        20.<\/strong> What does use of the word “ambergris” (line 8) accomplish?<\/p>\n

                                          \n
                                        1. Completes \u00a0\u00a0\u00a0\u00a0\u00a0the list of balm, oil, and spice<\/li>\n
                                        2. Contrasts \u00a0\u00a0\u00a0\u00a0\u00a0with the pleasant images of balms, oils, and spices<\/li>\n
                                        3. Creates \u00a0\u00a0\u00a0\u00a0\u00a0a metaphysical conceit<\/li>\n
                                        4. Refers \u00a0\u00a0\u00a0\u00a0\u00a0to something the speaker can both sing and write about<\/li>\n
                                        5. All \u00a0\u00a0\u00a0\u00a0\u00a0of the above\u00a0<\/li>\n<\/ol>\n

                                          21.<\/strong> The line “I write of Hell; I sing, and ever shall” (line 13) is an example of:<\/p>\n

                                            \n
                                          1. apostrophe.<\/li>\n
                                          2. internal \u00a0\u00a0\u00a0\u00a0\u00a0rhyme.<\/li>\n
                                          3. metonymy.<\/li>\n
                                          4. personification.<\/li>\n
                                          5. synecdoche.<\/li>\n<\/ol>\n

                                            22.<\/strong> What is the most <\/strong>important effect of repeating the preposition “of” in this passage?<\/p>\n

                                              \n
                                            1. It \u00a0\u00a0\u00a0\u00a0\u00a0increases the importance of the allusion to Mab (line 12).<\/li>\n
                                            2. It \u00a0\u00a0\u00a0\u00a0\u00a0increases the word\u2019s importance in the metrical pattern of the poem.<\/li>\n
                                            3. It \u00a0\u00a0\u00a0\u00a0\u00a0continuously changes the poem\u2019s direction.<\/li>\n
                                            4. It \u00a0\u00a0\u00a0\u00a0\u00a0emphasizes the range of subjects available to the poet.<\/li>\n
                                            5. It \u00a0\u00a0\u00a0\u00a0\u00a0interferes with the lilting tone of the poem.<\/li>\n<\/ol>\n

                                              Questions 23-32 are based on the following excerpt from “Bartleby, the Scrivener” by Herman Melville (1819-1891). In the passage, the narrator describes Bartleby, whom the narrator employs to copy legal documents. Read the passage carefully before answering the questions that follow.\u00a0<\/strong><\/p>\n

                                              I now recalled all the quiet mysteries which I had noted in the man. I remembered<\/p>\n

                                              that he never spoke but to answer; that, though at intervals he had considerable<\/p>\n

                                              time to himself, yet I had never seen him reading — no, not<\/p>\n

                                              (Line)<\/em> \u00a0even a newspaper; that for long periods he would stand looking out, at his<\/p>\n

                                              5 \u00a0pale window behind the screen, upon the dead brick wall, I was quite sure he<\/p>\n

                                              never visited any refectory1 or eating house, while his pale face clearly indicated that<\/p>\n

                                              he never drank beer like Turkey, or tea and coffee even, like other men; that he<\/p>\n

                                              never went anywhere in particular that I could learn; never went out for a walk,<\/p>\n

                                              unless, indeed, that was the case at present . that he had declined telling who he<\/p>\n

                                              10 \u00a0was, or whence he came, or whether he had any relatives in the world; that though<\/p>\n

                                              so thin and pale, he never complained of ill health. And more than all I remembered<\/p>\n

                                              a certain unconscious air of pallid — how shall I call it? — of pallid haughtiness, say,<\/p>\n

                                              or rather an austere reserve about him, which had positively awed me into my<\/p>\n

                                              15 \u00a0tame compliance with his eccentricities, when I had feared to ask him to do<\/p>\n

                                              the slightest incidental thing for me, even though I might know, from his long-continued<\/p>\n

                                              motionlessness, that behind his screen he must be standing in one of<\/p>\n

                                              those dead-wall reveries of his.<\/p>\n

                                              Revolving all these things, and coupling them with the recently discovered<\/p>\n

                                              20 \u00a0that he made my office his constant abiding place and home, and not<\/p>\n

                                              forgetful of his morbid moodiness revolving all these things, a prudential feeling<\/p>\n

                                              began to steal over me. My first emotions had been those of pure melancholy and<\/p>\n

                                              sincerest pity; but just in proportion as the forlornness of Bartleby grew and grew to<\/p>\n

                                              my imagination, did that same melancholy merge into fear, that pity into repulsion.<\/p>\n

                                              So true it is, and so terrible too, that up to a certain point the thought or sight of<\/p>\n

                                              25 \u00a0misery enlists our best affections; but, in certain special cases, beyond that point it<\/p>\n

                                              does not. They err who would assert that invariably this is owing to the inherent<\/p>\n

                                              selfishness of the human heart. It rather proceeds from a certain hopelessness of<\/p>\n

                                              remedying excessive and organic ill. To a sensitive being, pity is not seldom pain.<\/p>\n

                                              And when at last it is perceived that such pity cannot lead to effectual succor<\/p>\n

                                              30 \u00a0common sense bids the soul be rid of it. What I saw that morning persuaded me that<\/p>\n

                                              the scrivener was the victim of innate and incurable disorder. I might give alms to<\/p>\n

                                              his body, but his body did not pain him — it was his soul that suffered and his soul I<\/p>\n

                                              could not reach.<\/p>\n

                                              1 Refectory = room for eating, as at a rooming-house<\/p>\n

                                              23.<\/strong> The details presented in the second sentence of the first paragraph suggest:<\/p>\n

                                                \n
                                              1. inertia \u00a0\u00a0\u00a0\u00a0\u00a0on the part of Bartleby.<\/li>\n
                                              2. the \u00a0\u00a0\u00a0\u00a0\u00a0narrator\u2019s inappropriate behavior.<\/li>\n
                                              3. Bartleby\u2019s \u00a0\u00a0\u00a0\u00a0\u00a0anger at his co-workers.<\/li>\n
                                              4. Turkey\u2019s \u00a0\u00a0\u00a0\u00a0\u00a0and Bartleby\u2019s similarities.<\/li>\n
                                              5. None \u00a0\u00a0\u00a0\u00a0\u00a0of the above<\/li>\n<\/ol>\n

                                                24.<\/strong> In this passage, Bartleby is:<\/p>\n

                                                  \n
                                                1. the \u00a0\u00a0\u00a0\u00a0\u00a0antagonist.<\/li>\n
                                                2. the \u00a0\u00a0\u00a0\u00a0\u00a0protagonist.<\/li>\n
                                                3. a \u00a0\u00a0\u00a0\u00a0\u00a0dynamic character.<\/li>\n
                                                4. a \u00a0\u00a0\u00a0\u00a0\u00a0catalyst.<\/li>\n
                                                5. an \u00a0\u00a0\u00a0\u00a0\u00a0indirect character.<\/li>\n<\/ol>\n

                                                  25.<\/strong> The phrase “and not forgetful of his morbid moodiness” (lines 20-21) contains what literary device?<\/p>\n

                                                    \n
                                                  1. Alliteration<\/li>\n
                                                  2. Assonance<\/li>\n
                                                  3. Metaphor<\/li>\n
                                                  4. Metonymy<\/li>\n
                                                  5. Synecdoche<\/li>\n<\/ol>\n

                                                    26.<\/strong> In line 28, the word “organic” means:<\/p>\n

                                                      \n
                                                    1. musical.<\/li>\n
                                                    2. crucial.<\/li>\n
                                                    3. living.<\/li>\n
                                                    4. integral.<\/li>\n
                                                    5. carbon-based.<\/li>\n<\/ol>\n

                                                      27.<\/strong> The tone of this passage is best characterized as:<\/p>\n

                                                        \n
                                                      1. resigned \u00a0\u00a0\u00a0\u00a0\u00a0pessimism.<\/li>\n
                                                      2. descriptive \u00a0\u00a0\u00a0\u00a0\u00a0wondering.<\/li>\n
                                                      3. unalloyed \u00a0\u00a0\u00a0\u00a0\u00a0criticism.<\/li>\n
                                                      4. regretful \u00a0\u00a0\u00a0\u00a0\u00a0despair.<\/li>\n
                                                      5. deadened \u00a0\u00a0\u00a0\u00a0\u00a0joy.<\/li>\n<\/ol>\n

                                                        28.<\/strong> Which emotion does the narrator not <\/strong>express toward Bartleby?<\/p>\n

                                                          \n
                                                        1. Melancholy<\/li>\n
                                                        2. Pity<\/li>\n
                                                        3. Fear<\/li>\n
                                                        4. Repulsion<\/li>\n
                                                        5. Haughtiness<\/li>\n<\/ol>\n

                                                          29.<\/strong> In the selected passage, Melville uses all of the following rhetorical devices to describe Bartleby except:\u00a0<\/strong><\/p>\n

                                                            \n
                                                          1. hyperbole.<\/li>\n
                                                          2. juxtaposition \u00a0\u00a0\u00a0\u00a0\u00a0of contrasts.<\/li>\n
                                                          3. lists.<\/li>\n
                                                          4. concrete \u00a0\u00a0\u00a0\u00a0\u00a0detail.<\/li>\n
                                                          5. personification.<\/li>\n<\/ol>\n

                                                            \u00a0\u00a0<\/p>\n

                                                            30.<\/strong> Which of the following is not <\/strong>an accurate description of Melville\u2019s style in this particular passage?<\/p>\n

                                                              \n
                                                            1. Melville \u00a0\u00a0\u00a0\u00a0\u00a0avoids simple sentences.<\/li>\n
                                                            2. Melville \u00a0\u00a0\u00a0\u00a0\u00a0uses compound and complex sentences.<\/li>\n
                                                            3. Melville \u00a0\u00a0\u00a0\u00a0\u00a0uses past tense to suggest Bartleby\u2019s passivity.<\/li>\n
                                                            4. Melville\u2019s \u00a0\u00a0\u00a0\u00a0\u00a0irony underscores the inane nature of Bartleby\u2019s life.<\/li>\n
                                                            5. Melville\u2019s \u00a0\u00a0\u00a0\u00a0\u00a0subtle use of humor belies Bartleby\u2019s tragic situation.<\/li>\n<\/ol>\n

                                                              31.<\/strong> The shift that occurs between the two paragraphs in the passage can best <\/strong>be described as:<\/p>\n

                                                                \n
                                                              1. moving \u00a0\u00a0\u00a0\u00a0\u00a0from past to present tense.<\/li>\n
                                                              2. shifting \u00a0\u00a0\u00a0\u00a0\u00a0from concrete to abstract terms.<\/li>\n
                                                              3. employing \u00a0\u00a0\u00a0\u00a0\u00a0transitions to connect the two paragraphs.<\/li>\n
                                                              4. shifting \u00a0\u00a0\u00a0\u00a0\u00a0from concrete memories to an exploration of feelings.<\/li>\n
                                                              5. transitioning \u00a0\u00a0\u00a0\u00a0\u00a0from sparse description to elaborate contemplation.<\/li>\n<\/ol>\n

                                                                32.<\/strong> In line 29, “effectual succor” is best <\/strong>paraphrased as:<\/p>\n

                                                                  \n
                                                                1. true \u00a0\u00a0\u00a0\u00a0\u00a0success.<\/li>\n
                                                                2. effective \u00a0\u00a0\u00a0\u00a0\u00a0aid.<\/li>\n
                                                                3. quick \u00a0\u00a0\u00a0\u00a0\u00a0repulsion.<\/li>\n
                                                                4. innate \u00a0\u00a0\u00a0\u00a0\u00a0soul.<\/li>\n
                                                                5. best \u00a0\u00a0\u00a0\u00a0\u00a0affection.<\/li>\n<\/ol>\n

                                                                  Questions 33-40 refer to “London” by William Blake (1757-1827). Read the poem carefully before answering the questions that follow.\u00a0<\/strong><\/p>\n

                                                                  London\u00a0<\/strong><\/p>\n

                                                                  I wandered through each chartered* street, \u00a0*designed, framed, mapped<\/p>\n

                                                                  Near where the chartered Thames does flow,<\/p>\n

                                                                  A mark in every face I meet,<\/p>\n

                                                                  (Line) <\/em>\u00a0\u00a0Marks of weakness, marks of woe.<\/p>\n

                                                                  5 \u00a0In every cry of every man,<\/p>\n

                                                                  In every infant\u2019s cry of fear,<\/p>\n

                                                                  In every voice, in every ban*, \u00a0*taboo, prohibited activity<\/p>\n

                                                                  The mind-forged manacles I hear:<\/p>\n

                                                                  How the chimney-sweeper\u2019s cry<\/p>\n

                                                                  10 \u00a0\u00a0Every blackening church appals,<\/p>\n

                                                                  And the hapless soldier\u2019s sigh<\/p>\n

                                                                  Runs in blood down palace-walls.<\/p>\n

                                                                  But most, through midnight streets I hear<\/p>\n

                                                                  How the youthful harlot\u2019s curse<\/p>\n

                                                                  15 \u00a0Blasts the new-born infant\u2019s tear,<\/p>\n

                                                                  And blights with plagues the marriage-hearse.<\/p>\n

                                                                  \u00a0\u00a0<\/p>\n

                                                                  33.<\/strong> All of the following pairs of words describe London with an adjective followed by a noun, except:<\/strong>\u00a0<\/p>\n

                                                                    \n
                                                                  1. “blackening \u00a0\u00a0\u00a0\u00a0\u00a0church.” (line 10)<\/li>\n
                                                                  2. “hapless \u00a0\u00a0\u00a0\u00a0\u00a0soldier.” (line 11)<\/li>\n
                                                                  3. “youthful \u00a0\u00a0\u00a0\u00a0\u00a0harlot.” (line 14)<\/li>\n
                                                                  4. “chartered \u00a0\u00a0\u00a0\u00a0\u00a0Thames.” (line 2)<\/li>\n
                                                                  5. “chimney-sweeper\u2019s \u00a0\u00a0\u00a0\u00a0\u00a0cry.” (line 9)<\/li>\n<\/ol>\n

                                                                    34.<\/strong> Which of the following best <\/strong>paraphrases “mind-forged manacles” (line 8)?<\/p>\n

                                                                      \n
                                                                    1. Plagues \u00a0\u00a0\u00a0\u00a0\u00a0that attack health and body<\/li>\n
                                                                    2. Restrictive \u00a0\u00a0\u00a0\u00a0\u00a0religious rules<\/li>\n
                                                                    3. Self-doubt \u00a0\u00a0\u00a0\u00a0\u00a0that confines the soul<\/li>\n
                                                                    4. War \u00a0\u00a0\u00a0\u00a0\u00a0that destroys the society<\/li>\n
                                                                    5. All \u00a0\u00a0\u00a0\u00a0\u00a0of the above<\/li>\n<\/ol>\n

                                                                      35.<\/strong> Blake\u2019s use of the words “marks,” “cry,” and “every” underscores the mood of:<\/p>\n

                                                                        \n
                                                                      1. unanimous \u00a0\u00a0\u00a0\u00a0\u00a0glee.<\/li>\n
                                                                      2. sober \u00a0\u00a0\u00a0\u00a0\u00a0analysis.<\/li>\n
                                                                      3. multiple \u00a0\u00a0\u00a0\u00a0\u00a0perspectives.<\/li>\n
                                                                      4. consistent \u00a0\u00a0\u00a0\u00a0\u00a0despair.<\/li>\n
                                                                      5. unfocused \u00a0\u00a0\u00a0\u00a0\u00a0anger.<\/li>\n<\/ol>\n

                                                                        36.<\/strong> What runs “in blood down Palace walls” (line 12)?<\/p>\n

                                                                          \n
                                                                        1. “every \u00a0\u00a0\u00a0\u00a0\u00a0cry of man” (line 5)<\/li>\n
                                                                        2. “cry \u00a0\u00a0\u00a0\u00a0\u00a0of fear” (line 6)<\/li>\n
                                                                        3. “chimney-sweeper\u2019s \u00a0\u00a0\u00a0\u00a0\u00a0cry” (line 9)<\/li>\n
                                                                        4. “hapless \u00a0\u00a0\u00a0\u00a0\u00a0Soldier\u2019s sigh” (line 11)<\/li>\n
                                                                        5. “youthful \u00a0\u00a0\u00a0\u00a0\u00a0harlot\u2019s curse” (line 14)<\/li>\n<\/ol>\n

                                                                          37.<\/strong> In line 16, the word “blights” most nearly means:<\/p>\n

                                                                            \n
                                                                          1. enlightens.<\/li>\n
                                                                          2. blackens.<\/li>\n
                                                                          3. spoils.<\/li>\n
                                                                          4. marries.<\/li>\n
                                                                          5. tears.<\/li>\n<\/ol>\n

                                                                            38.<\/strong> Sound-based images in the poem includes all of the following except:<\/strong><\/p>\n

                                                                              \n
                                                                            1. “marks \u00a0\u00a0\u00a0\u00a0\u00a0of woe.” (line 4)<\/li>\n
                                                                            2. “cry \u00a0\u00a0\u00a0\u00a0\u00a0of every man.” (line 5)<\/li>\n
                                                                            3. “hapless \u00a0\u00a0\u00a0\u00a0\u00a0soldier\u2019s sigh.” (line 11)<\/li>\n
                                                                            4. “youthful \u00a0\u00a0\u00a0\u00a0\u00a0harlot\u2019s curse.” (line 14)<\/li>\n
                                                                            5. None \u00a0\u00a0\u00a0\u00a0\u00a0of the above<\/li>\n<\/ol>\n

                                                                              \u00a0\u00a0<\/p>\n

                                                                              39.<\/strong> Which of the following is not <\/strong>true about the perspective of this poem?\u00a0<\/p>\n

                                                                                \n
                                                                              1. The \u00a0\u00a0\u00a0\u00a0\u00a0speaker is highly attuned to sounds and images in London.<\/li>\n
                                                                              2. The \u00a0\u00a0\u00a0\u00a0\u00a0poem represents multiple speakers\u2019 perspectives.<\/li>\n
                                                                              3. The \u00a0\u00a0\u00a0\u00a0\u00a0poem may represent observations from several walks through London.<\/li>\n
                                                                              4. The \u00a0\u00a0\u00a0\u00a0\u00a0speaker creates a m\u00e9lange of many London images.<\/li>\n
                                                                              5. The \u00a0\u00a0\u00a0\u00a0\u00a0myriad of images suggest discontent with London.<\/li>\n<\/ol>\n

                                                                                40.<\/strong> The imagery in the final stanza has the primary effect of:\u00a0<\/p>\n

                                                                                  \n
                                                                                1. connecting \u00a0\u00a0\u00a0\u00a0\u00a0to the first stanza\u2019s imagery.\u00a0<\/li>\n
                                                                                2. reinforcing \u00a0\u00a0\u00a0\u00a0\u00a0visual rather than aural images.\u00a0<\/li>\n
                                                                                3. creating \u00a0\u00a0\u00a0\u00a0\u00a0a new, more joyful tone.\u00a0<\/li>\n
                                                                                4. sharpening \u00a0\u00a0\u00a0\u00a0\u00a0the mood of discord.\u00a0<\/li>\n
                                                                                5. undercutting \u00a0\u00a0\u00a0\u00a0\u00a0the river-themed imagery.\u00a0<\/li>\n<\/ol>\n

                                                                                  Questions 41-50 are based on the poem “Virtue” by George Herbert (1593-1633). Read the poem carefully before answering the questions that follow.\u00a0<\/strong><\/p>\n

                                                                                  Virtue\u00a0<\/strong><\/p>\n

                                                                                  Sweet day, so cool, so calm, so bright,<\/p>\n

                                                                                  The bridal of the earth and sky!<\/p>\n

                                                                                  The dew shall weep thy fall tonight;<\/p>\n

                                                                                  (Line) <\/em>\u00a0\u00a0\u00a0For thou must die.<\/p>\n

                                                                                  5 \u00a0Sweet rose, whose hue, angry and brave,<\/p>\n

                                                                                  Bids the rash gazer wipe his eye,<\/p>\n

                                                                                  Thy root is ever in its grave,<\/p>\n

                                                                                  And thou must die.<\/p>\n

                                                                                  Sweet spring, full of sweet days and roses,<\/p>\n

                                                                                  10 \u00a0\u00a0A box* where sweets compacted lie, \u00a0*container for flowers<\/p>\n

                                                                                  My music shows ye have your closes*, \u00a0*finishing sounds<\/p>\n

                                                                                  And all must die.<\/p>\n

                                                                                  Only a sweet and virtuous soul,<\/p>\n

                                                                                  Like seasoned timber, never gives;<\/p>\n

                                                                                  15 \u00a0But though the whole world turn to coal*, \u00a0*burn, as in world-ending fire<\/p>\n

                                                                                  Then chiefly lives.<\/p>\n

                                                                                  41.<\/strong> Which pair of words represents the poem\u2019s primary conflict?<\/p>\n

                                                                                    \n
                                                                                  1. Virtue \u00a0\u00a0\u00a0\u00a0\u00a0and the passage of time<\/li>\n
                                                                                  2. Spring \u00a0\u00a0\u00a0\u00a0\u00a0and carpe diem<\/li>\n
                                                                                  3. Sweet \u00a0\u00a0\u00a0\u00a0\u00a0personalities and angry personalities<\/li>\n
                                                                                  4. Roses \u00a0\u00a0\u00a0\u00a0\u00a0and days<\/li>\n
                                                                                  5. All \u00a0\u00a0\u00a0\u00a0\u00a0of the above<\/li>\n<\/ol>\n

                                                                                    \u00a0\u00a0<\/p>\n

                                                                                    42.<\/strong> The first three stanzas parallel each other in all of the following ways except:<\/strong><\/p>\n

                                                                                      \n
                                                                                    1. each \u00a0\u00a0\u00a0\u00a0\u00a0starts with the word “sweet.”<\/li>\n
                                                                                    2. each \u00a0\u00a0\u00a0\u00a0\u00a0ends with the same word.<\/li>\n
                                                                                    3. each \u00a0\u00a0\u00a0\u00a0\u00a0shares a common idea.<\/li>\n
                                                                                    4. the \u00a0\u00a0\u00a0\u00a0\u00a0day of the first stanza is metaphorically continued in the next two \u00a0\u00a0\u00a0\u00a0\u00a0stanzas.<\/li>\n
                                                                                    5. each \u00a0\u00a0\u00a0\u00a0\u00a0advocates for an alternative to death.<\/li>\n<\/ol>\n

                                                                                      43.<\/strong> Stanzas one, two, and three each contain which of the following devices?<\/p>\n

                                                                                        \n
                                                                                      1. Anthropomorphism<\/li>\n
                                                                                      2. Apostrophe<\/li>\n
                                                                                      3. Free \u00a0\u00a0\u00a0\u00a0\u00a0verse<\/li>\n
                                                                                      4. Synecdoche<\/li>\n
                                                                                      5. Simile<\/li>\n<\/ol>\n

                                                                                        44.<\/strong> Which of the following phrases is not <\/strong>used by the speaker as an example of something that must die?<\/p>\n

                                                                                          \n
                                                                                        1. “Sweet \u00a0\u00a0\u00a0\u00a0\u00a0day” (line 1)<\/li>\n
                                                                                        2. “Sweet \u00a0\u00a0\u00a0\u00a0\u00a0rose” (line 5)<\/li>\n
                                                                                        3. “Thy \u00a0\u00a0\u00a0\u00a0\u00a0root” (line 7)<\/li>\n
                                                                                        4. “Sweet \u00a0\u00a0\u00a0\u00a0\u00a0spring” (line 9)<\/li>\n
                                                                                        5. “a \u00a0\u00a0\u00a0\u00a0\u00a0sweet and virtuous soul” (line 13)<\/li>\n<\/ol>\n

                                                                                          45.<\/strong> The simile in the fourth stanza does all of the following except:\u00a0<\/strong><\/p>\n

                                                                                            \n
                                                                                          1. compare \u00a0\u00a0\u00a0\u00a0\u00a0a virtuous soul to seasoned timber.<\/li>\n
                                                                                          2. compare \u00a0\u00a0\u00a0\u00a0\u00a0the strength of virtue to the strength of wood.<\/li>\n
                                                                                          3. suggest \u00a0\u00a0\u00a0\u00a0\u00a0virtue, like seasoned wood, will not rot.<\/li>\n
                                                                                          4. suggest \u00a0\u00a0\u00a0\u00a0\u00a0virtue does not give way to sin.<\/li>\n
                                                                                          5. suggest \u00a0\u00a0\u00a0\u00a0\u00a0virtue can turn the world to coal.<\/li>\n<\/ol>\n

                                                                                            46.<\/strong> Which of the following statements is not <\/strong>an accurate analysis of the figurative language in the second and third stanzas?<\/p>\n

                                                                                              \n
                                                                                            1. In \u00a0\u00a0\u00a0\u00a0\u00a0stanza two, the metaphor could be considered a metaphysical conceit.<\/li>\n
                                                                                            2. In \u00a0\u00a0\u00a0\u00a0\u00a0stanza two, the crimson rose is described as angry.<\/li>\n
                                                                                            3. In \u00a0\u00a0\u00a0\u00a0\u00a0stanza two the face of the angry man is so pale, observers cry.<\/li>\n
                                                                                            4. In \u00a0\u00a0\u00a0\u00a0\u00a0stanza three, the spring is compared to a box of sweets.<\/li>\n
                                                                                            5. In \u00a0\u00a0\u00a0\u00a0\u00a0stanza three, “music” may be read literally and metaphorically.<\/li>\n<\/ol>\n

                                                                                              47.<\/strong> Lines 4, 8, and 12 share which metrical pattern?<\/p>\n

                                                                                                \n
                                                                                              1. Iambic \u00a0\u00a0\u00a0\u00a0\u00a0trimeter\u00a0<\/li>\n
                                                                                              2. Iambic \u00a0\u00a0\u00a0\u00a0\u00a0tetrameter\u00a0<\/li>\n
                                                                                              3. Iambic \u00a0\u00a0\u00a0\u00a0\u00a0dimeter \u00a0<\/li>\n
                                                                                              4. Trochaic \u00a0\u00a0\u00a0\u00a0\u00a0tetrameter\u00a0<\/li>\n
                                                                                              5. Spondaic \u00a0\u00a0\u00a0\u00a0\u00a0dimeter<\/li>\n<\/ol>\n

                                                                                                \u00a0\u00a0<\/p>\n

                                                                                                48.<\/strong> Lines 3, 10, and 14 share which metrical pattern?<\/p>\n

                                                                                                  \n
                                                                                                1. Iambic \u00a0\u00a0\u00a0\u00a0\u00a0trimeter\u00a0<\/li>\n
                                                                                                2. Iambic \u00a0\u00a0\u00a0\u00a0\u00a0tetrameter\u00a0<\/li>\n
                                                                                                3. Iambic \u00a0\u00a0\u00a0\u00a0\u00a0dimeter\u00a0<\/li>\n
                                                                                                4. Trochaic \u00a0\u00a0\u00a0\u00a0\u00a0tetrameter\u00a0<\/li>\n
                                                                                                5. Spondaic \u00a0\u00a0\u00a0\u00a0\u00a0dimeter<\/li>\n<\/ol>\n

                                                                                                  49.<\/strong> The apostrophe and anaphora in lines 4 and 8 have the effect of:<\/p>\n

                                                                                                  I. emphasizing mortality.<\/p>\n

                                                                                                  II. lightening the tone.<\/p>\n

                                                                                                  III. broadening the poem\u2019s theme.<\/p>\n

                                                                                                    \n
                                                                                                  1. I \u00a0\u00a0\u00a0\u00a0\u00a0only<\/li>\n
                                                                                                  2. II \u00a0\u00a0\u00a0\u00a0\u00a0only<\/li>\n
                                                                                                  3. I \u00a0\u00a0\u00a0\u00a0\u00a0and II only<\/li>\n
                                                                                                  4. I \u00a0\u00a0\u00a0\u00a0\u00a0and III only<\/li>\n
                                                                                                  5. I, \u00a0\u00a0\u00a0\u00a0\u00a0II, and III<\/li>\n<\/ol>\n

                                                                                                    50.<\/strong> The tone of this poem is best <\/strong>characterized as:<\/p>\n

                                                                                                      \n
                                                                                                    1. Sacrilegious<\/li>\n
                                                                                                    2. Humorous<\/li>\n
                                                                                                    3. Reverent<\/li>\n
                                                                                                    4. Ambiguous<\/li>\n
                                                                                                    5. Practical<\/li>\n<\/ol>\n

                                                                                                      \u00a0\u00a0<\/p>\n

                                                                                                      Answer Sheet<\/strong><\/u><\/p>\n

                                                                                                      \u00a0\u00a0<\/p>\n

                                                                                                      1.<\/strong><\/p>\n

                                                                                                      26.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      2.<\/strong><\/p>\n

                                                                                                      27.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      3.<\/strong><\/p>\n

                                                                                                      28.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      4.<\/strong><\/p>\n

                                                                                                      29.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      5.<\/strong><\/p>\n

                                                                                                      30.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      6.<\/strong><\/p>\n

                                                                                                      31.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      7.<\/strong><\/p>\n

                                                                                                      32.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      8.<\/strong><\/p>\n

                                                                                                      33.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      9.<\/strong><\/p>\n

                                                                                                      34.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      10.<\/strong><\/p>\n

                                                                                                      35.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      11.<\/strong><\/p>\n

                                                                                                      36.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      12.<\/strong><\/p>\n

                                                                                                      37.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      13.<\/strong><\/p>\n

                                                                                                      38.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      14.<\/strong><\/p>\n

                                                                                                      39.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      15.<\/strong><\/p>\n

                                                                                                      40.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      16.<\/strong><\/p>\n

                                                                                                      41.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      17.<\/strong><\/p>\n

                                                                                                      42.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      18.<\/strong><\/p>\n

                                                                                                      43.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      19.<\/strong><\/p>\n

                                                                                                      44.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      20.<\/strong><\/p>\n

                                                                                                      45.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      21.<\/strong><\/p>\n

                                                                                                      46.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      22.<\/strong><\/p>\n

                                                                                                      47.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      23.<\/strong><\/p>\n

                                                                                                      48.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      24.<\/strong><\/p>\n

                                                                                                      49.<\/strong><\/p>\n

                                                                                                      \u00a0<\/p>\n

                                                                                                      25.<\/strong><\/p>\n

                                                                                                      50.<\/strong><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

                                                                                                      \u00a0Directions\u00a0 \u00b7 Mark your answers to the multiple-choice questions on the answer sheet at the end of the multiple-choice section. Use a black or blue pen. \u00b7 Remember to complete the submission information on every page you turn in. Questions 1-14 are based on the following lines from Twelfth Night by William Shakespeare (1564-1616). In […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[],"class_list":["post-23255","post","type-post","status-publish","format-standard","hentry","category-education"],"_links":{"self":[{"href":"https:\/\/assignmenttutors.net\/blog\/wp-json\/wp\/v2\/posts\/23255","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/assignmenttutors.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/assignmenttutors.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/assignmenttutors.net\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/assignmenttutors.net\/blog\/wp-json\/wp\/v2\/comments?post=23255"}],"version-history":[{"count":0,"href":"https:\/\/assignmenttutors.net\/blog\/wp-json\/wp\/v2\/posts\/23255\/revisions"}],"wp:attachment":[{"href":"https:\/\/assignmenttutors.net\/blog\/wp-json\/wp\/v2\/media?parent=23255"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/assignmenttutors.net\/blog\/wp-json\/wp\/v2\/categories?post=23255"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/assignmenttutors.net\/blog\/wp-json\/wp\/v2\/tags?post=23255"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}