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Questions 1-14 are based on the following lines from Twelfth Night 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.
VIOLA But if she cannot love you, sir?
DUKE ORSINO I cannot be so answer’d.
VIOLA Sooth, but you must.
(Line) Say that some lady, as perhaps there is,
5 Hath for your love a great a pang of heart
As you have for Olivia: you cannot love her;
You tell her so; must she not then be answer’d?
DUKE ORSINO There is no woman’s sides
Can bide* the beating of so strong a passion *tolerate, abide
10 As love doth give my heart; no woman’s heart
So big, to hold so much; they lack retention
Alas, their love may be call’d appetite,
No motion of the liver, but the palate,
That suffer surfeit, cloyment and revolt*; *abhorrence
15 But mine is all as hungry as the sea,
And can digest as much: make no compare
Between that love a woman can bear me
And that I owe Olivia.
VIOLA Ay, but I know–
20 DUKE ORSINO What dost thou know?
VIOLA Too well what love women to men may owe:
In faith, they are as true of heart as we.
My father had a daughter loved a man,
As it might be, perhaps, were I a woman,
25 I should your lordship.
DUKE ORSINO And what’s her history?
VIOLA A blank, my lord. She never told her love,
But let concealment, like a worm i’ the bud,
Feed on her damask* cheek: she pined in thought, *healthy, red
30 And with a green and yellow melancholy
She sat like patience on a monument,
Smiling at grief. Was not this love indeed?
We men may say more, swear more: but indeed
Our shows are more than will; for still we prove
35 Much in our vows, but little in our love.
1. In line 1, who is the “she” to whom Viola refers?
2. Line 24, “As it might be, perhaps, were I a woman,” is:
3. In lines 8-18, Orsino offers all of the following reasons to prove that his love cannot be reciprocated by a woman except:
4. In line 11, the phrase “lack retention” is contrasted with:
5. It’s possible to infer that Orsino believes “the liver” (line 13) is:
6. In line 15, “mine” stands for Duke Orsino’s:
7. What is the mood of this passage?
8. In line 15, the phrase, “But mine is all as hungry as the sea,” contains:
9. In line 26, when the Duke asks, “[a]nd what’s her history?” he means:
10. Which of the following best paraphrases lines 27-35?
11. In lines 28-29, “But let concealment, like a worm i’ the bud, / Feed on her damask cheek” provides an example of what poetic device?
12. In line 29, who is “She” to whom Viola refers?
13. This passage is written in:
14. Which of the following best summarizes the idea Viola expresses in lines 33-35?
Questions 15-22 are based on the following poem by Robert Herrick (1591-1674). Read the poem carefully before answering the questions that follow.
The Argument Of His Book
I sing of brooks, of blossoms, birds, and bowers,
Of April, May, of June, and July-flowers;
I sing of May-poles, hock-carts,* wassails,** wakes, *harvest-carrying carts **toasts
(Line) Of bride-grooms, brides, and of their bridal-cakes.
5 I write of Youth, of Love;–and have access
By these, to sing of cleanly wantonness;
I sing of dews, of rains, and, piece by piece,
Of balm, of oil, of spice, and ambergris.* *whale-product used to make perfumes;
I sing of times trans-shifting; and I write a rarity
10 How roses first came red, and lilies white.
I write of groves, of twilights, and I sing
The court of Mab,* and of the Fairy King. *queen of the fairies
I write of Hell; I sing, and ever shall
Of Heaven,–and hope to have it after all.
15. This poem is in the form of a(n):
16. The poem’s rhyme scheme is formed by:
17. The shift in the poem occurs after:
18. The poem employs which of the following devices?
19. Which phrase best captures the tone of the poem?
20. What does use of the word “ambergris” (line 8) accomplish?
21. The line “I write of Hell; I sing, and ever shall” (line 13) is an example of:
22. What is the most important effect of repeating the preposition “of” in this passage?
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.
I now recalled all the quiet mysteries which I had noted in the man. I remembered
that he never spoke but to answer; that, though at intervals he had considerable
time to himself, yet I had never seen him reading — no, not
(Line) even a newspaper; that for long periods he would stand looking out, at his
5 pale window behind the screen, upon the dead brick wall, I was quite sure he
never visited any refectory1 or eating house, while his pale face clearly indicated that
he never drank beer like Turkey, or tea and coffee even, like other men; that he
never went anywhere in particular that I could learn; never went out for a walk,
unless, indeed, that was the case at present . that he had declined telling who he
10 was, or whence he came, or whether he had any relatives in the world; that though
so thin and pale, he never complained of ill health. And more than all I remembered
a certain unconscious air of pallid — how shall I call it? — of pallid haughtiness, say,
or rather an austere reserve about him, which had positively awed me into my
15 tame compliance with his eccentricities, when I had feared to ask him to do
the slightest incidental thing for me, even though I might know, from his long-continued
motionlessness, that behind his screen he must be standing in one of
those dead-wall reveries of his.
Revolving all these things, and coupling them with the recently discovered
20 that he made my office his constant abiding place and home, and not
forgetful of his morbid moodiness revolving all these things, a prudential feeling
began to steal over me. My first emotions had been those of pure melancholy and
sincerest pity; but just in proportion as the forlornness of Bartleby grew and grew to
my imagination, did that same melancholy merge into fear, that pity into repulsion.
So true it is, and so terrible too, that up to a certain point the thought or sight of
25 misery enlists our best affections; but, in certain special cases, beyond that point it
does not. They err who would assert that invariably this is owing to the inherent
selfishness of the human heart. It rather proceeds from a certain hopelessness of
remedying excessive and organic ill. To a sensitive being, pity is not seldom pain.
And when at last it is perceived that such pity cannot lead to effectual succor
30 common sense bids the soul be rid of it. What I saw that morning persuaded me that
the scrivener was the victim of innate and incurable disorder. I might give alms to
his body, but his body did not pain him — it was his soul that suffered and his soul I
could not reach.
1 Refectory = room for eating, as at a rooming-house
23. The details presented in the second sentence of the first paragraph suggest:
24. In this passage, Bartleby is:
25. The phrase “and not forgetful of his morbid moodiness” (lines 20-21) contains what literary device?
26. In line 28, the word “organic” means:
27. The tone of this passage is best characterized as:
28. Which emotion does the narrator not express toward Bartleby?
29. In the selected passage, Melville uses all of the following rhetorical devices to describe Bartleby except:
30. Which of the following is not an accurate description of Melville’s style in this particular passage?
31. The shift that occurs between the two paragraphs in the passage can best be described as:
32. In line 29, “effectual succor” is best paraphrased as:
Questions 33-40 refer to “London” by William Blake (1757-1827). Read the poem carefully before answering the questions that follow.
I wandered through each chartered* street, *designed, framed, mapped
Near where the chartered Thames does flow,
A mark in every face I meet,
(Line) Marks of weakness, marks of woe.
5 In every cry of every man,
In every infant’s cry of fear,
In every voice, in every ban*, *taboo, prohibited activity
The mind-forged manacles I hear:
How the chimney-sweeper’s cry
10 Every blackening church appals,
And the hapless soldier’s sigh
Runs in blood down palace-walls.
But most, through midnight streets I hear
How the youthful harlot’s curse
15 Blasts the new-born infant’s tear,
And blights with plagues the marriage-hearse.
33. All of the following pairs of words describe London with an adjective followed by a noun, except:
34. Which of the following best paraphrases “mind-forged manacles” (line 8)?
35. Blake’s use of the words “marks,” “cry,” and “every” underscores the mood of:
36. What runs “in blood down Palace walls” (line 12)?
37. In line 16, the word “blights” most nearly means:
38. Sound-based images in the poem includes all of the following except:
39. Which of the following is not true about the perspective of this poem?
40. The imagery in the final stanza has the primary effect of:
Questions 41-50 are based on the poem “Virtue” by George Herbert (1593-1633). Read the poem carefully before answering the questions that follow.
Sweet day, so cool, so calm, so bright,
The bridal of the earth and sky!
The dew shall weep thy fall tonight;
(Line) For thou must die.
5 Sweet rose, whose hue, angry and brave,
Bids the rash gazer wipe his eye,
Thy root is ever in its grave,
And thou must die.
Sweet spring, full of sweet days and roses,
10 A box* where sweets compacted lie, *container for flowers
My music shows ye have your closes*, *finishing sounds
And all must die.
Only a sweet and virtuous soul,
Like seasoned timber, never gives;
15 But though the whole world turn to coal*, *burn, as in world-ending fire
Then chiefly lives.
41. Which pair of words represents the poem’s primary conflict?
42. The first three stanzas parallel each other in all of the following ways except:
43. Stanzas one, two, and three each contain which of the following devices?
44. Which of the following phrases is not used by the speaker as an example of something that must die?
45. The simile in the fourth stanza does all of the following except:
46. Which of the following statements is not an accurate analysis of the figurative language in the second and third stanzas?
47. Lines 4, 8, and 12 share which metrical pattern?
48. Lines 3, 10, and 14 share which metrical pattern?
49. The apostrophe and anaphora in lines 4 and 8 have the effect of:
I. emphasizing mortality.
II. lightening the tone.
III. broadening the poem’s theme.
50. The tone of this poem is best characterized as:
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