Semester 1 Lit
(Shamengwa) The second half of the third paragraph ("When . . . played it") primarily serves to
explain the impact of a character's performing style
(Elm and Maples) The juxtaposition of what Evans "wanted" (line 12) and "didn't want" (line 14) serves to emphasize that Evans
focused on the details of the landscape rather than the lives of the people who inhabit it
(Maletroits) The detailed description that precedes Malétroit's spoken words has the effect of
giving Malétroit's greeting an ominous tone that suggests Denis' interaction with him may prove to be unpleasant
(Sestina) The simile in lines 21-22 ("like . . . subtitles") primarily serves to illustrate
how crucial the word "like" is to people's ability to communicate with each other
(Elm and Maples)The poem as a whole juxtaposes Walker Evans' values with the speaker's by presenting the Evans photograph as a metaphor for the
incomplete nature of an artist's perspective
(Elm and Maples) The setting described in the poem is best identified as a landscape that
is depicted in a photograph that has captured the speaker's attention
(Mending Wall) In the context of the poem, which image most fully reflects the speaker's disapproval of the neighbor's attitudes?
"He moves in darkness" (line 41)
(Conradin) Which lines from the passage would best support a reader's claim that one of the central themes of the passage is independence?
"Such few pleasures as he could contrive for himself gained an added relish from the likelihood that they would be displeasing to his guardian, and from the realm of his imagination she was locked out—an unclean thing, which should find no entrance" (paragraph 2)
(Mending Wall) In line 6, "them" refers to
"hunters" (line 5)
(Letter home) Lines 27-28 ("Their . . . to me") emphasize the speaker's sense that her
past life and true identity are always present
(Tom Rivers) In the fourth paragraph, the narrator presents himself as
perplexed by an event that occurred long ago
(Secret Stream) The narrator of the passage can best be described as
providing the reader access to only one character's thoughts
(Elm and Maples) For the speaker, Evans' decision to use the ferns "as foreground and as border" (line 21) symbolically reveals
the limitations resulting from Evans's artistic choices
(Sestina) In lines 26-27 ("Displaces . . . nest"), the metaphor of "endangered hatchlings" suggests that "Like"
threatens to eliminate more sophisticated language
(Mending Wall) In line 40 ("like . . . armed"), the speaker uses a simile to draw attention to the contrast between
two distinct perspectives of the world
(Shamengwa) In context, the discussion of "owehzhee" in the second paragraph suggests that the narrator
understands and sympathizes with Shamengwa's attentiveness to his appearance
(Mending Wall) The repetition of line 1 ("Something . . . wall") in line 35 most clearly reflects the speaker's
unfulfilled impulse to share his personal reflections with the neighbor
(Shamengwa) Which of the following best characterizes the passage as a whole?
A discussion of a character that provides insights into a defined community
(Secret Stream) Which of the following best describes the structure of the passage?
A sequential account of an activity sheds light on an individual's character.
(Maletroits) The narrator remarks on the sharp contrast between Malétroit's "expression" (paragraph 2) and his
Calm Silence
(Maletroits) How does the information in the fourth sentence of the first paragraph ("Denis . . . hands") connect Denis with Malétroit?
Denis appreciates Malétroit's status
(Secret Stream) The events recounted in the third through eighth paragraphs ("Without . . . 'I guess'") establish which of the following about Nathan?
His feelings of discomfort
(Conradin) Which of the following effects does the "large polecat-ferret" mentioned toward the end of the final paragraph have on the development of Conradin's character?
It fulfills Conradin's imaginative ideal because he is able to transform it into "a god and a religion" (paragraph 3).
(Maletroits) In the final paragraph, the only spoken words in the passage highlight a juxtaposition between
Malétroit's polite invitation and his threatening appearance
(Conradin) In the third sentence of the first paragraph, the narrator's description of Mrs. De Ropp as "those three-fifths of the world that are necessary and disagreeable and real" suggests that
Mrs. De Ropp is a strict person who fails to appreciate Conradin's creative spirit
(Elm and Maples) The attitude of the speaker in lines 18-19 ("I look . . . hills") might best be described as
Nostalgic
(Secret Stream) Which word best represents the way the narrator describes the setting as related in the seventh paragraph?
Peaceful
(Secret Stream) In context, the term "marched" in the third sentence of the third paragraph suggests which of the following about Sofia?
She feels confident in her environment.
(Letter home) What is the source of the internal conflict acknowledged by the speaker?
She realizes that her race and gender will make it difficult for her to achieve her goals.
(Letter home) Which of the following does the speaker imply about her "plain English and good writing" (line 6) ?
That she had mistakenly believed that these skills would be sufficient to get her a job
(Tom Rivers) Toward the end of the first paragraph, the references to what goes on "in one of the upstairs rooms" and to Jim Crenfew's "explosive laugh" suggest which of the following about the narrator?
The past is very vivid to him.
(Maletroits) How does the detailed description of the Sire de Malétroit's hands toward the middle of the second paragraph ("Age, probably . . . martyr") serve to illuminate his character?
The position of his hands is at odds with his malevolent gaze.
(Tom Rivers) Which of the following best describes the structure of the passage?
The recollection of youthful memories leads to wondering about the location of an old friend.
(Mending Wall) How does the speaker's repetition of the neighbor's cherished belief about the importance of walls (lines 27 and 45) convey the poem's criticism of an undesirable social pattern?
The speaker treats the neighbor's words about fences as evidence of a world view that is closed-minded in general.
(Tom Rivers) Based on details provided in the text, which of the following is most likely the setting for the passage?
The yard of an old family homestead
(Tom Rivers) In the first three sentences of the second paragraph ("At such . . . connection"), the narrator suggests which of the following about himself and his cousins?
They don't want to disrupt a particular mood.
(Sestina) In lines 1-2, the speaker describes "Like" as a "semi-demi goddess" primarily to emphasize the
almost religious devotion people have to collecting "likes" on social media
(Tom Rivers) The narrator speaks from the point of view of
a member of a close-knit family whose knowledge is limited by his experiences
(Shamengwa) The narrator in the passage speaks from the point of view of
a member of a community with insight into its people and their experiences
(Secret Stream) The references in the first and third paragraphs to the "mini Monticello," the "bloated Tudor cottage," the "Spanish-style mansion," and the "Moorish castle" suggest that the passage is set in
a pretentious suburban neighborhood
(Elm and Maples) The speaker of the poem is best described as
a viewer musing on the significance of a specific photograph
(Elm and Maples) The details about Aunt Grace in lines 15-17 ("my clumsy . . . floor") suggest that, to the speaker, Aunt Grace is
an embodiment of the messiness of reality versus the order that art sometimes imposes
(Elm and Maples) The speaker of the poem is best interpreted as taking on the role of
an interpreter
(Shamengwa) In the fourth paragraph, Shamengwa's decision to place his awards "on a triangular scrap of shelf high in one corner of his house" suggests that he
attaches little importance to external recognition
(Maletroits) In the first three sentences of the passage ("He found . . . Malétroits"), the details Denis observes upon entering the Sire de Malétroit's residence combine to create a sense of
barrenness to spotlight Malétroit himself
(Elm and Maples) In lines 3-6 ("Here . . . branch"), the speaker's description of Evans' photography techniques as "acrobatic" suggests that the photographer's relationship to his surroundings is
calculated and artificial
(Conradin) Toward the end of the final paragraph, Conradin's "exchange" of "a long-secreted hoard of small silver" with the butcher-boy is significant because it
develops the idea that Conradin finds joy in acts that would be displeasing to Mrs. De Ropp
(Conradin) In the third sentence of the final paragraph, the "disused tool-shed" functions primarily as a setting in which Conradin
discovers meaningful solitude
(Tom Rivers) In the third paragraph ("There . . . tree"), the narrator's descriptions of light falling through branches and shadows moving across the field primarily serve to
emphasize a difference between the regularity of nature and the unpredictability of humans
(Letter home) Lines 29-34 ("I thought . . . ends") suggest that the speaker imitated Miss J— primarily because she
regarded speech like Miss J—'s as a means of self-improvement
(Conradin) The second paragraph ("Mrs. De Ropp . . . entrance") suggests that Conradin is able to cope with his situation primarily by
retreating to the security of an interior world
(Letter home) Overall, the poem can best be interpreted as a
social commentary using a historical period
(Mending Wall) Line 28 ("Spring . . . wonder") most clearly marks a shift in the speaker's focus from the practical task at hand to
speculation about the nature of fences and boundaries
(Sestina) The repetition of versions of the word "like" at the end of each line of the poem does all of the following EXCEPT
suggest that the speaker's vocabulary is limited
(Letter home) In lines 21-40 ("There . . . home"), the speaker's juxtaposition of her life in New Orleans with her life at "home" primarily serves to emphasize
the harsh reality of her situation
