AP MCQ 8
In context, lines 15-16 ("My face . . . rest") most clearly serve to represent both
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
apparent superficiality and an underlying astuteness
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
deeper and immediately recognizable significance
Which of the following best serves as an example of the speaker's use of juxtaposition in the poem?
"capital letters" (line 4) and "lower case" (line 24)
How does the rhetorical question in lines 17-18 of the final stanza ("Where . . . West?") function in the poem as a whole?
It extends the geographical imagery of the second stanza.
Which of the following best describes the function of the conceit in "a thought in a coat" (line 7)?
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?
Julian's silence amplifies his mother's garrulousness.
Which of the following best paraphrases the speaker's argument in lines 10-11 ?
Lovers see a beauty in one another that seems sufficient to fill the world.
Which of the following best explains the function of the shift in line 5 from rhetorical questions to statements?
The speaker moves from idle speculation of the past to earnest declaration of the current state of their love.
How do the references to "ideas on horseback" and "long-haired virtues" (lines 27-28) fit into the overall structure of the poem?
They signal a return to the topic and imagery introduced in the opening stanza.
For the speaker, the condominiums in line 19 primarily symbolize
fashionable but shallow contemporary values
For Julian's mother, the new hat represents
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
holds an exaggerated sense of the importance of his problems
The metaphor in lines 17-18 ("two better . . . West") suggests that the lovers' relationship
is more perfect than the natural world
The allusion in the final sentence of the passage ("Rome . . . a day") serves all of the following functions EXCEPT to
parallel Julian's own despair about finding financial success
The function of the allusion in line 4 might best be understood to convey
that the lovers were oblivious to the world around them
In the closing stanza, "the road" (line 30) functions as a symbol of the
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
the public world and a private world shared by the lovers
