· 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.
· 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 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?
Any charming woman
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:
his heart is bigger than a woman’s heart.
women’s hearts lack retention.
a woman’s love is mere appetite.
women are as hungry as the sea.
his passion is extremely strong.
4. In line 11, the phrase “lack retention” is contrasted with:
“be call’d appetite” (line 12)
“sides / can hide” (line 10)
“That suffer surfeit” (line 14)
“love doth give” (line 10)
“to hold so much” (line 11)
5. It’s possible to infer that Orsino believes “the liver” (line 13) is:
subject to revolt.
likely to lack retention.
the seat of true love.
less genuine than the palate.
more common to women’s love than to men’s.
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:
What’s her title?
How old is she?
Where does she come from?
Whom does she love?
All of the above
10. Which of the following best paraphrases lines 27-35?
She egotistically hides her errors and never keeps her promises.
She works hard at gardening and likes to talk to her friends.
She hides her grief and says little; men talk more.
Men are egotistical and conceal much more about their loves than women do.
Men are talkative; women are patient and beautiful.
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?
Any charming woman
13. This passage is written in:
14. Which of the following best summarizes the idea Viola expresses in lines 33-35?
Men are foul-mouthed and willful.
Men and women smile at grief.
Men talk a lot, but that doesn’t prove their love.
All of the above
None of the above
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?
Completes the list of balm, oil, and spice
Contrasts with the pleasant images of balms, oils, and spices
Creates a metaphysical conceit
Refers to something the speaker can both sing and write about
All of the above
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?
It increases the importance of the allusion to Mab (line 12).
It increases the word’s importance in the metrical pattern of the poem.
It continuously changes the poem’s direction.
It emphasizes the range of subjects available to the poet.
It interferes with the lilting tone of the poem.
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:
inertia on the part of Bartleby.
the narrator’s inappropriate behavior.
Bartleby’s anger at his co-workers.
Turkey’s and Bartleby’s similarities.
None of the above
24. In this passage, Bartleby is:
a dynamic character.
an indirect character.
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:
juxtaposition of contrasts.
30. Which of the following is not an accurate description of Melville’s style in this particular passage?
Melville avoids simple sentences.
Melville uses compound and complex sentences.
Melville uses past tense to suggest Bartleby’s passivity.
Melville’s irony underscores the inane nature of Bartleby’s life.
Melville’s subtle use of humor belies Bartleby’s tragic situation.
31. The shift that occurs between the two paragraphs in the passage can best be described as:
moving from past to present tense.
shifting from concrete to abstract terms.
employing transitions to connect the two paragraphs.
shifting from concrete memories to an exploration of feelings.
transitioning from sparse description to elaborate contemplation.
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:
“blackening church.” (line 10)
“hapless soldier.” (line 11)
“youthful harlot.” (line 14)
“chartered Thames.” (line 2)
“chimney-sweeper’s cry.” (line 9)
34. Which of the following best paraphrases “mind-forged manacles” (line 8)?
Plagues that attack health and body
Restrictive religious rules
Self-doubt that confines the soul
War that destroys the society
All of the above
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)?
“every cry of man” (line 5)
“cry of fear” (line 6)
“chimney-sweeper’s cry” (line 9)
“hapless Soldier’s sigh” (line 11)
“youthful harlot’s curse” (line 14)
37. In line 16, the word “blights” most nearly means:
38. Sound-based images in the poem includes all of the following except:
“marks of woe.” (line 4)
“cry of every man.” (line 5)
“hapless soldier’s sigh.” (line 11)
“youthful harlot’s curse.” (line 14)
None of the above
39. Which of the following is not true about the perspective of this poem?
The speaker is highly attuned to sounds and images in London.
The poem represents multiple speakers’ perspectives.
The poem may represent observations from several walks through London.
The speaker creates a mélange of many London images.
The myriad of images suggest discontent with London.
40. The imagery in the final stanza has the primary effect of:
connecting to the first stanza’s imagery.
reinforcing visual rather than aural images.
creating a new, more joyful tone.
sharpening the mood of discord.
undercutting the river-themed imagery.
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?
Virtue and the passage of time
Spring and carpe diem
Sweet personalities and angry personalities
Roses and days
All of the above
42. The first three stanzas parallel each other in all of the following ways except:
each starts with the word “sweet.”
each ends with the same word.
each shares a common idea.
the day of the first stanza is metaphorically continued in the next two stanzas.
each advocates for an alternative to death.
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?
“Sweet day” (line 1)
“Sweet rose” (line 5)
“Thy root” (line 7)
“Sweet spring” (line 9)
“a sweet and virtuous soul” (line 13)
45. The simile in the fourth stanza does all of the following except:
compare a virtuous soul to seasoned timber.
compare the strength of virtue to the strength of wood.
suggest virtue, like seasoned wood, will not rot.
suggest virtue does not give way to sin.
suggest virtue can turn the world to coal.
46. Which of the following statements is not an accurate analysis of the figurative language in the second and third stanzas?
In stanza two, the metaphor could be considered a metaphysical conceit.
In stanza two, the crimson rose is described as angry.
In stanza two the face of the angry man is so pale, observers cry.
In stanza three, the spring is compared to a box of sweets.
In stanza three, “music” may be read literally and metaphorically.
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.
I and II only
I and III only
I, II, and III
50. The tone of this poem is best characterized as: