U8 MC: AP Lit
Which of the following best serves as an example of the speaker's use of juxtaposition in the poem? A "capital letters" (line 4) and "lower case" (line 24) B "thought in a coat" (line 7) and "great ideas on horseback" (line 27) C "Valor" (line 13) and "Death" (line 14) D "warehouse" (line 15) and "condominiums" (line 19) E "Garden of Mirth" (line 18) and "green hillside" (line 31)
A "capital letters" (line 4) and "lower case" (line 24)
Which of the following best paraphrases the speaker's argument in lines 10-11 ? A Lovers see a beauty in one another that seems sufficient to fill the world. B Love needs to be restrained so that one person's identity is not lost in the other's. C Love can be all-consuming and make lovers seem foolish. D Love for the beloved expands into a greater love for humanity. E Lovers can be perilously blind to their social responsibilities.
A Lovers see a beauty in one another that seems sufficient to fill the world.
For the speaker, the condominiums in line 19 primarily symbolize A fashionable but shallow contemporary values B effective but neglected literary techniques C luxurious but immoral uses of landscape D familiar but illogical customs in modern life E crowded yet isolating locations for people to gather
A fashionable but shallow contemporary values
For Julian's mother, the new hat represents A guilty extravagance B youthful energy C boastful success D stylish modesty E comforting conformity
A guilty extravagance
In the first sentence of the second paragraph ("She was . . . piercing him"), the allusion to Saint Sebastian comments on Julian's character primarily by suggesting that Julian A holds an exaggerated sense of the importance of his problems B makes silly faces in order to cause his mother to laugh C prefers spiritual leaders to people in his neighborhood D compares himself unrealistically to standards of perfection E seeks a religious solution to his troubled career ambitions
A holds an exaggerated sense of the importance of his problems
The metaphor in lines 17-18 ("two better . . . West") suggests that the lovers' relationship A is more perfect than the natural world B exists in a supportive environment C can last for only one season D suffers from a lack of adventure E cannot withstand the strain of hardships
A is more perfect than the natural world
How does the rhetorical question in lines 17-18 of the final stanza ("Where . . . West?") function in the poem as a whole? A It repeats the question posed in the first stanza. B It extends the geographical imagery of the second stanza. C It proposes a better world than the real one. D It shifts the setting to the present moment. E It disrupts the poem's pattern of rhyme.
B It extends the geographical imagery of the second stanza.
How do the references to "ideas on horseback" and "long-haired virtues" (lines 27-28) fit into the overall structure of the poem? A They introduce a satirical interpretation of the modern objects in the preceding stanza. B They signal a return to the topic and imagery introduced in the opening stanza. C They contradict the accusation made by the speaker in the final stanza. D They offer an alternative to the speaker's sentimental view of the Renaissance world. E They develop the speaker's earlier metaphors about retirement with additional details.
B They signal a return to the topic and imagery introduced in the opening stanza.
In context, lines 15-16 ("My face . . . rest") most clearly serve to represent both A an actual event and a metaphorical journey B a literal reflection and a figurative union C a practical purpose and an idealistic vision D a deceptive story and a sincere emotion E a commercial exchange and a religious experience
B a literal reflection and a figurative union
In the fourth paragraph ("She lifted . . . to town"), Julian's thoughts about the contrast presented by his mother's eyes suggest the presence of an overall contrast between her A pretended sweetness and a fundamental hostility B apparent superficiality and an underlying astuteness C conventional politeness and a manipulative disdain D preliminary enthusiasm and a subsequent reluctance E misleading frankness and a concealed secretiveness
B apparent superficiality and an underlying astuteness
The function of the allusion in line 4 might best be understood to convey A that the lovers' metaphorical winter is over B that the lovers were oblivious to the world around them C a subtle shift from human love to spiritual love D that religion offers a quiet retreat from fiery passion E an extended description of a lurid dream
B that the lovers were oblivious to the world around them
As used in line 24, the phrase "objects that sit quietly" emphasizes the speaker's point that objects like the binoculars and the money clip differ from allegorical figures because they lack a A manipulative and outwardly simplistic appeal to emotion B bolder and often alarming appearance C deeper and immediately recognizable significance D larger and physically impressive scale of size E stronger and highly memorable use of colors
C deeper and immediately recognizable significance
Which of the following best explains the function of the shift in line 5 from rhetorical questions to statements? A The discourse changes from dialogue to monologue. B The speaker's mood becomes lighter and more playful. C The imagery transforms from that of sleeping to waking. D The speaker moves from idle speculation of the past to earnest declaration of the current state of their love. E The point of view adjusts from first person narration of experiences to third person reporting of incidents.
D The speaker moves from idle speculation of the past to earnest declaration of the current state of their love.
The allusion in the final sentence of the passage ("Rome . . . a day") serves all of the following functions EXCEPT to A provide another example of Julian's mother's proverbial sayings B demonstrate Julian's mother's faith in her son's future C minimize a personal setback by a grand historical reference D parallel Julian's own despair about finding financial success E introduce a contrast between Rome and the immediate neighborhood
D parallel Julian's own despair about finding financial success
Which of the following best describes the function of the conceit in "a thought in a coat" (line 7)? A It echoes the speaker's rambling process of reasoning in the poem as a whole. B It contrasts with the speaker's image of a marble statue that comes alive for viewers. C It underscores the speaker's insistence upon the need for moral messages in modern art. D It illustrates the speaker's distrust of ideas masquerading as individuals from human history. E It reinforces the speaker's celebration of how artists bestowed physical form on abstractions.
E It reinforces the speaker's celebration of how artists bestowed physical form on abstractions.
Which of the following best describes one of the contrasts between the character of Julian and that of his mother? A Julian is proud of achievements that his mother fails to recognize. B Julian's generosity clashes with his mother's selfishness. C Julian's boredom highlights his mother's inquisitiveness. D Julian's contentedness is in conflict with his mother's ambition. E Julian's silence amplifies his mother's garrulousness.
E Julian's silence amplifies his mother's garrulousness.
In the closing stanza, "the road" (line 30) functions as a symbol of the A attraction the speaker feels for a Renaissance-era life of adventure B intensity of the speaker's desire for the return of allegorical poems C remoteness of Renaissance customs from the habits of modern people D difficulty of impressing readers through allegory in a modern poem E finality with which allegorical figures have vanished from modern culture
E finality with which allegorical figures have vanished from modern culture
The use of a conceit in lines 12-14 ("Let . . . one") allows the speaker to focus on a complex comparison between A being acquisitive and being satisfied with what one already has B young lovers and world explorers C those who study maps and those who explore the seas D remote, exotic locations and local scenes of pastoral life E the public world and a private world shared by the lovers
E the public world and a private world shared by the lovers
