Unit 1 Study Guide (Teacher Edition) Assessment ID: ib...

Unit 1 Study Guide

Teacher Edition

Short Story Boot Camp

Unit 1 Study Guide (Teacher Edition) Assessment ID: ib.55730

Generated On October 16, 2013, 9:25 PM PDT Illuminate Itembank™

Section 1

1 The following text is an excerpt from MartinLuther King Jr.’s famous “I Have a Dream”speech in August 1963. Here, King attempts topersuade audiences primarily through one of thefollowing classic appeals.

“I am not unmindful that some of youhave come here out of great trials andtribulations. Some of you have comefresh from narrow cells. Some of youhave come from areas where yourquest for freedom left you battered bythe storms of persecution andstaggered by the winds of policebrutality. You have been the veteransof creative suffering. Continue to workwith the faith that unearned suffering isredemptive.

Go back to Mississippi, go back toAlabama, go back to Georgia, go backto Louisiana, go back to the slums andghettos of our northern cities, knowingthat somehow this situation can andwill be changed. Let us not wallow inthe valley of despair," (King).

Which of the classic appeals does this text mostclearly use to persuade audiences?

A. ethos

B. pathos

C. logos

Master ID: 314670 Revision: 1

Correct: BRubric: 0 Point(s)Standards:

CCSS.LA.11-12.RCCSS.LA.11-12.RL.CCR.2CCSS.LA.11-12.RL.11-12.3CCSS.LA.11-12.RL.CCR.4CCSS.LA.11-12.RL.11-12.4CCSS.LA.11-12.RL.11-12.5CCSS.LA.11-12.RI.CCR.2CCSS.LA.11-12.RI.11-12.3CCSS.LA.11-12.RI.11-12.4CCSS.LA.11-12.RI.11-12.5

2 The following text attempts to persuadeaudiences primarily through one of the followingclassic appeals.

Which of the classic appeals does this text mostclearly use to persuade audiences?

A. ethos

B. pathos

C. logos





Directions: Answer the following question(s).

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3 The following text is a PETA (People for theEthical Treatment of Animals) ad, depictingfamous musician, composer, singer, andsongwriter Paul McCartney, who rose to fame asa member of the Beatles. The ad attempts topersuade audiences primarily through an ethosappeal.

Which of the following best exemplifies thestrategies used to create an ethos appeal in thisad?

A. The ad leverages McCartney’s fame to build thecampaign’s credibility as a trustworthy cause.

B. The text that quotes McCartney, saying, “Irealized as I watched him [the fish] fight forbreath, that his life was as important to him asmine is to me,” presents a valid argument forvegetarianism.

C. The ad leverages McCartney’s fame as amember of a loved band to create positivefeelings in the viewer toward the campaign.


Correct: ARubric: 0 Point(s)Standards:


4 Persuading by appealing to the audience’semotions is called…

A. ethos

B. pathos

C. logos







5 Persuading by the credibility, trustworthiness, orcharacter of the rhetor is an appeal to…

A. ethos

B. pathos

C. logos




6 “Logos” refers to the rhetors attempt topersuade by…

A. The use of famous brand name symbols

B. The use of logical reasoning

C. Appealing to the audience’s emotions

D. The credibility, trustworthiness, or character ofthe rhetor







Annabel Leeby Edgar Allan Poe

It was many and many a year ago,In a kingdom by the sea,That a maiden there lived whom you may knowBy the name of ANNABEL LEE;And this maiden she lived with no other thoughtThan to love and be loved by me.

I was a child and she was a child,In this kingdom by the sea;But we loved with a love that was more than love—I and my Annabel Lee;With a love that the winged seraphs of heavenCoveted her and me.

And this was the reason that, long ago,In this kingdom by the sea,A wind blew out of a cloud, chillingMy beautiful Annabel Lee;So that her highborn kinsman cameAnd bore her away from me,To shut her up in a sepulchreIn this kingdom by the sea.

The angels, not half so happy in heaven,Went envying her and me—Yes!—that was the reason (as all men know,In this kingdom by the sea)That the wind came out of the cloud by night,Chilling and killing my Annabel Lee.

But our love it was stronger by far than the loveOf those who were older than we—Of many far wiser than we—And neither the angels in heaven above,Nor the demons down under the sea,Can ever dissever my soul from the soulOf the beautiful Annabel Lee.

For the moon never beams without bringing me dreamsOf the beautiful Annabel Lee;And the stars never rise but I feel the bright eyesOf the beautiful Annabel Lee;And so, all the night–tide, I lie down by the sideOf my darling—my darling—my life and my bride,In the sepulchre there by the sea,In her tomb by the sounding sea.


Directions: Read the passage below and answer the question(s) that follow.


7 TEACHER READS:

Read the question to yourself and select thebest answer.

Which of the following best infers that thespeaker is having a difficult time forgettinghis love?

A. And this maiden she lived with no otherthought / Than to love and be loved by me.

B. That the wind came out of the cloud by night, /Chilling and killing my Annabel Lee.

C. Can ever dissever my soul from the soul / Of thebeautiful Annabel Lee.

D. For the moon never beams without bringing medreams / Of the beautiful Annabel Lee;


Correct: DRationale:

A. Student(s) may have thought these linesshow how the speaker has a difficult timeforgetting his love because it shows howstrong the speaker's love is for Annabel Lee.

B. Student(s) may have thought these linesshow how the speaker has a difficult timeforgetting his love because he is retelling thestory of her death and how it affected him.

C. Student(s) may have thought these linesshow how the speaker has a difficult timeforgetting his love because he believes theirsouls will never be split apart.

D. Correct answerStandards:

CCSS.LA.11-12.RCCSS.LA.11-12.RL.11-12.1

8 TEACHER READS:


When Poe refers to "highborn kinsmen" inline 17, he means .

A. family

B. nobility

C. soldiers

D. angels



A. Student(s) may have taken the word"kinsmen" literally instead of taking it in thecontext of the poem.

B. Student(s) may not have taken the term inthe context of the poem, and may haverecognized that "highborn" refers to nobility.Student(s) may have associated this withthe references to the kingdom by the sea.

C. Student(s) may not have understood themetaphor in the passage.


CCSS.LA.11-12.RCCSS.LA.11-12.RL.CCR.4CCSS.LA.11-12.RL.11-12.4


Directions: Answer the following question(s) relating to the passage titled "Annabel Lee".


9 TEACHER READS:


Read the following line from the poem.

I was a child and she was a child...

What is the most likely reason Poe chose tointroduce both characters as children?

A. Poe chose to introduce the characters aschildren to give the impression that their lovewas immature and not real.

B. Poe chose to introduce the characters aschildren to show how they had a long, fulfillingrelationship before Annabel died.

C. Poe chose to introduce the characters aschildren to show the reader their love was notlong lasting, but instead a passing phase.

D. Poe chose to introduce the characters aschildren to heighten the sense of loss whenAnnabel dies.



A. Student(s) may have chosen this answerbecause sometimes young people whoseem so in love are immature; however, thatis not a purpose that Poe has in the poem.Student(s) may have missed that Poe wantsthe reader to mourn the death of Annabeland feel sorry for the narrator.

B. Student(s) may have chosen this answerbecause it would be tragic if two people inlove for a lifetime were separated by death;however, Poe indicates that the relationshipwas tragically cut short by death saying thattheir love was stronger than "the love/Ofthose who were older than we."

C. Student(s) may have chosen this answerbecause young love is sometimes a passingphase; however, Poe gives no impressionthat Annabel and the narrator's love was notlong lasting.




Directions: Answer the following question(s) relating to the passage titled "Annabel Lee".


Flat Suburbs, S.W., in the MorningBy D.H. Lawrence, 1916

1 The new red houses spring like plants2 In level rows3 Of reddish herbage that bristles and slants4 Its square shadows.

5 The pink young houses show one side bright6 Flatly assuming the sun,7 And one side shadow, half in sight,8 Half–hiding the pavement–run;

9 Where hastening creatures pass intent10 On their level way,11 Threading like ants that can never relent12 And have nothing to say.

13 Bare stems of street–lamps stiffly stand14 At random, desolate twigs,15 To testify to a blight on the land16 That has stripped their sprigs.

Public Domain




10 TEACHER READS:


Which phrase best communicates thenarrator's criticism of the suburbanresidents?

A. like plants in level rows

B. one side shadow, half in sight

C. like ants that can never relent

D. street–lamps stiffly stand


Correct: CRationale:

A. Student(s) may not have understood thatthis phrase described the houses, not thepeople living in them.

B. Student(s) may not have understood thatthese words showed no direct criticism ofthe suburban residents.

C. Correct answerD. Student(s) may not have understood that

these words referred to lampposts, notresidents.

Standards:CCSS.LA.11-12.RCCSS.LA.11-12.RL.CCR.4CCSS.LA.11-12.RL.11-12.4

11 TEACHER READS:


The phrase best capturesLawrence's tone.

A. new red houses spring like plants

B. reddish herbage

C. half in sight

D. desolate twigs



A. Student(s) may not have understood thatLawrence's tone was one of disapproval andthis phrase by itself was not negative.

B. Student(s) may not have understood thatthis phrase only hinted at scathing remarksyet to come.

C. Student(s) may not have understood thatthere was some negativity suggested in thisphrase, but it did not carry the heavycriticism found at the end of the poem.




Directions: Answer the following question(s) relating to the passage titled "Flat Suburbs, S.W., in the Morning".


12 TEACHER READS:


Over his career D.H. Lawrence addressed thetopics of nature and modernization. Howdoes he develop these two ideas in thispoem?

A. Lawrence uses metaphors in stanzas two andthree that portray a positive interaction of naturaland man–made elements.

B. Throughout the poem he decries thereplacement of stems, sprigs and plants withman–made objects.

C. Through the whole poem Lawrence shows thesuburb from a distance, establishing objectivityabout the new suburb and the loss of somenatural elements.

D. In stanzas one and four the poet points out anunderlying danger in both nature and moderndevelopment.


Correct: BRationale:

A. Student(s) may not have understood thatthe poet did not use any metaphors thatshowed a positive connection betweennature and modernization.

B. Correct answerC. Student(s) may not have understood that

neither the poet nor the narratordemonstrated objectivity. Student(s) maynot have understood that the tone of thepoem was quite negative about theinfringement of the suburban developmentupon nature.

D. Student(s) may not have understood thatthe poet did not suggest any latent dangerfrom nature.


13 TEACHER READS:


The author chooses to use the word leveltwice (lines 2 and 10), also flatly (line 6) andflat (title). Select the best reason for makingthis cluster of word choices.

A. to provide a literal description of the area

B. to provide a metaphor for common sense

C. to create images of uninteresting, man–madesurroundings

D. to praise the careful planning of the suburbancommunity


Correct: CRationale:

A. Student(s) may not have understood thatseveral of the phrases using the words werefigurative, not literal.

B. Student(s) may not have understood thatthe poet gave no indication in the poem ofanyone using common sense or actinglevel–headed.

C. Correct answerD. Student(s) may not have understood that

the words were selected to criticize the newhousing development.





14 TEACHER READS:


The poem contains no dialogue and noreferences to individual people. What impactdid the poet want to achieve with theseomissions?

A. He wanted to create a quiet background for thebeauty of the morning.

B. He wanted to keep the poet's point of view out ofthe poem.

C. He wanted the new houses to have their ownvoice.

D. He wanted to emphasize that the new houseswere lifeless objects.



A. Student(s) may not have understood thatthe poet did not see any beauty in thesuburb.

B. Student(s) may not have understood thatthe poet made his viewpoint clearthroughout the poem. Student(s) may nothave understood that the poet wasconsistently critical.

C. Student(s) may not have understood thepoet did not provide the houses a voice or aviewpoint.






"A Valentine" by Edgar Allan PoeFor he this rhyme is penned, whose luminous eyes,Brightly expressive as the twins of Leoda,Shall find her own sweet name, that, nestling liesUpon the page, enwrapped from every reader.Search narrowly the lines! – they hold a treasureDivine – a talisman – an amuletThat must be worn at heart. Search well the measure –The words – the syllables! Do not forgetThe trivialest point, or you may lose your labor!And yet there is in this no Gordian knot

Which one might not undo without a sabre,If one could merely comprehend the plot.Enwritten upon the leaf where now are peeringEyes scintillating soul, there lie perdusThree eloquent words oft uttered in the hearingOf Poets, by poets – as the name is a poet’s too.Its letters, although naturally lyingLike the knight Pinto – Mendez Ferdinando –Still form a synonym for Truth – Cease trying!You will not read the riddle, though you do the best you can do.

15 The speaker in the poem is appealing to theaudience’s

A. ethos

B. pathos

C. logos

D. love




16 True or False: The speaker’s intended audienceis his lover.

A. True

B. False







17 What is the connection between the speaker inthis poem and the subject?

A. The speaker is ridiculing the subject

B. The speaker implies the audience is thesubject.

C. The speaker loves the subject.

D. The speaker has no specific subject.


Correct: CRubric: 0 Point(s)Standards:



Directions: Answer the following question(s) relating to the passage titled ""A Valentine" by Edgar Allan Poe".


Excerpt from David Copperfield by Charles Dickens

Charles Dickens wrote David Copperfield in 1850. It follows the lead character, David Copperfield, from birth intoadulthood. In this paragraph, David is sent to boarding school.

Chapter 5. I am Sent Away From homeI gazed upon the schoolroom into which he took me, as the most forlorn and desolate place I had ever seen. I seeit now. A long room with three long rows of desks, and six of forms, and bristling all round with pegs for hats andslates. Scraps of old copy-books and exercises litter the dirty floor. Some silkworms’ houses, made of the samematerials, are scattered over the desks. Two miserable little white mice, left behind by their owner, are running upand down in a fusty castle made of pasteboard and wire, looking in all the corners with their red eyes for anythingto eat. A bird, in a cage very little bigger than himself, makes a mournful rattle now and then in hopping on hisperch, two inches high, or dropping from it but neither sings nor chirps. There is a strange unwholesome smellupon the room, like mildewed corduroys, sweet apples wanted air, and rotten books. There could not well bemore ink splashed about it, if it had been roofless from its first construction, and the skies had rained, snowed,hailed, and blown ink through the carrying seasons of the year.

18 True or false: The subject in this excerpt is aman’s reflection of an experience.

A. True

B. False




19 Based on the excerpt, the speaker is sharingmemories of a school-house to

A. share a disappointing experience.

B. appeal to a common experience.

C. appear deep in thought.

D. appeal to the logic of the reader.




20 How does the speaker feel about the school hehas just been brought to?

A. He feels badly for the mice that are stuck in theclassroom.

B. He is worried about the roof of the schoolleaking while he works.

C. He is thrilled to be at a school with so manyresources.

D. He is discouraged by the appearance of theschool.


Correct: DRubric: 0 Point(s)Standards:





Excerpt from Moby Dick by Herman Melville.

Herman Melville’s classic novel, Moby Dick; or The Whale, was published in 1851. The novel follows CaptainAhab’s search to destroy the powerful and mysterious white whale called Moby Dick.

Chapter 14 – NantucketNantucket! Take out your map and look at it. See what a real corner of the world it occupies; how it stands there,away off shore, more lonely than the Eddystone lighthouse. Look at it— a mere hillock, and elbow of sand; allbeach, without a background. There is more sand there than you would use in twenty years as a substitute forblotting paper. Some gamesome wights will tell you that they have to plant weeds there, they don’t grow naturally;that they import Canada thistles; that they have to send beyond seas for a spile to stop a leak in an oil cask; thatpieces of wood in Nantucket are carried about like bits of the true cross in Rome; that people there planttoadstools before their houses, to get under the shade in summer time; that one blade of grass makes an oasis,three blades in a day’s walk a prairie; that they wear quicksand shoes, something like Laplander snow-shoes; thatthey are so shut up, belted about, every way inclosed, surrounded, and made an utter island of by the ocean, thatto their very chairs and tables small clams will sometimes be found adhering as to the backs of sea turtles. Butthese extravaganzas only show that Nantucket is no Illinois.

21 What is the relationship between the speaker andthe subject in above excerpt?

A. the speaker appreciates the location he hasfound himself in

B. the speaker shows disdain, through humor,towards his location

C. the speaker appreciates traveling to new places

D. the speaker has no experience with his newlocation




22 Read the selection below.

Some gamesome wights will tell you that theyhave to plant weeds there, they don’t grownaturally; that they import Canada thistles;that they have to send beyond seas for a spileto stop a leak in an oil cask;

Using the strategies of close reading, why wouldMelville choose the word wights?

A. to increase the level of difficulty of the story

B. to increase the level of difficulty of the story

C. to provide a better idea of how he really felttowards the subject

D. to confuse the reader







23 A close read happens when:

A. a reader spends significantly more time on onepart of a text than any other.

B. a reader makes observations of a text and thenanalysis what they have gathered.

C. the author indicates that one piece ofinformation presented in a text is more valuablethan other pieces of information.

D. a reader skips words or phrases to try toincrease vocabulary acquisition.







how to watch the sky bExcerpt from How to Watch the Skyby Diane Ackerman 1I am sitting at the edge of the continent, at Point Reyes National Seashore, the peninsula north of San Francisco, where theland gives way to the thrall of the Pacific and the arching blue conundrum of the sky. When cricket-whine, loud as a buzz saw,abruptly quits, only bird calls map the quiet codes of daylight. A hawk leans into nothingness, peeling a layer of flight from thinair. At first it flaps hard to gain a little altitude, then finds a warm updraft and cups the air with its wings, spiraling up in tightcircles as it eyes the ground below for rodents or rabbits. Banking a little wider, it turns slowly, a twirling parasol. The hawkknows instinctively that it will not fall. The sky is the one visual constant in all our lives, a complex backdrop to our everyventure, thought, and emotion. Yet we tend to think of it as invisible—an absence, not a substance. Though we move throughair’s glassy fathoms, we rarely picture it as the thick heavy arena it is. We rarely wonder about the blue phantasm we call the“Skeu,” I say out loud, the word that our ancient ancestors used; I try to utter it as they might have, with fear and wonder:“Skeu.” Actually, it was their word for a covering of any sort. To them, the sky was a roof of changing colors . . . .2Driving four hours south, along spectacular cliffs and a wild and dramatic ocean where sea otters bob in the kelp beds, sealions bark, harbor seals clump together like small mountain ranges, and pelagic* cormorants, sanderlings, murres, and otherseabirds busily nest, I pause on a wind-ripped slope of Big Sur. A Monterey pine leans out over the Pacific, making a ledge forthe sunset. The pummeling gales have strangled its twigs and branches on the upwind side, and it looks like a shaggy blackfinger pointing out to sea. People pull up in cars, get out, stand and stare. Nothing need be said. We all understand the visualnourishment we share. We nod to one another. The cottony blue sky and dark-blue sea meet at a line sharp as a razor’sedge. Why is it so thrilling to see a tree hold pieces of sky in its branches, and hear waves crash against a rocky shore,blowing spray high into the air, as the seagulls creak? Of the many ways to watch the sky, one of the most familiar is throughthe filigree **limbs of a tree, or around and above trees; this has much to do with how we actually see and observe the sky.Trees conduct the eye from the ground up to the heavens, link the detailed temporariness of life with the bulging blueabstraction overhead . . . .3As night falls on Big Sur, all the soot of the world seems to pour down into the sunset. A swollen yellow doubloon drops slowlyinto the ocean, shimmer by shimmer, as if swallowed whole. Then, at the horizon, a tiny green ingot hovers for a second, andvanishes. The “green flash” people call it, with mystical solemnity. But it is the briefest flash of green, and this is the first timein all my sunset-watching that I’ve seen it. Green, azure, purple, red: How lucky we are to live on a planet with coloredskies . . . .*pelagic: of, relating to, or living in open oceans or seas**filigree: lacy




24 Read this excerpt from Paragraph 2.

People pull up in cars, get out, stand, and stare.Nothing need be said. We all understand thevisual nourishment we share.

In this excerpt, the author uses the words “visualnourishment” to refer to

A. a desire for simplicity.

B. a need for social acceptance.

C. a sense of personal responsibility.

D. an understood sense of wonder.




25 Read the sentence from the passage.

I am sitting at the edge of the continent, at PointReyes National Seashore, the peninsula northof San Francisco, where the land gives way tothe thrall of the Pacific and the arching blueconundrum of the sky.

A conundrum is a puzzle or problem. When theauthor describes the sky as a conundrum, shemeans that it

A. defies a verbal description

B. looks different from each location

C. creates a sense of awe and perplexity

D. reflects the beautiful color of the ocean.





Directions: Answer the following question(s) relating to the passage titled "how to watch the sky b".


The Writer b

Read the poem below and answer the questions that follow.

“The Writer” by Richard Wilbur

In her room at the prow of the house

Where light breaks, and the windows are tossed with linden,

My daughter is writing a story.

I pause in the stairwell, hearing

5 From her shut door a commotion of typewriter-keys

Like a chain hauled over a gunwale.

Young as she is, the stuff

Of her life is a great cargo, and some of it heavy:

I wish her a lucky passage.

10 But now it is she who pauses,

As if to reject my thought and its easy figure.

A stillness greatens, in which

The whole house seems to be thinking,

And then she is at it again with a bunched clamor

15 Of strokes, and again is silent.

I remember the dazed starling

Which was trapped in that very room, two years ago;

How we stole in, lifted a sash

And retreated, not to affright it;

20 And how for a helpless hour, through the crack of the door,

We watched the sleek, wild, dark

And iridescent creature

Batter against the brilliance, drop like a glove

To the hard floor, or the desk-top,

25 And wait then, humped and bloody,

For the wits to try it again; and how our spirits

Rose when, suddenly sure,

It lifted off from a chair-back,

Beating a smooth course for the right window

30 And clearing the sill of the world.

It is always a matter, my darling,

Of life or death, as I had forgotten. I wish

What I wished you before, but harder.




26 Which of these BEST describes how the tonecontributes to the “The Writer”?

A. The nonchalant tone creates dramatic irony.

B. The worried tone builds a sense of suspense.

C. The indulgent tone reveals the affection of thespeaker.

D. The wistful tone reflects the importance of thesubject.







overtureOverture: Playing the Invisible Instrumentby Joan Oliver Goldsmith 1When I make music, adventures happen. I sit at the feet of a grand old lady of spirituals, who tells stories of CarnegieHall recitals. I find myself on stage in Mexico City singing Mahler’s glorious Symphony of a Thousand. I am awed by therich contributions made by the not famous—the fifteenth violinist, the accompanist, the singers in the chorus—themultitudes of voices who sing Beethoven’s Ninth at Orchestra Hall, but never at the Met. We teach, drive school buses,write corporate brochures, whatever it takes—but we keep singing.2We’re everywhere—the passionate, committed, talented, frequently unpaid or underpaid workers who make possiblethe great things of life. We’re the utility infielder, the middle manager, the small-enterprise entrepreneur.3We are described by what we do, not by labels like professional or amateur. We work with craftsmanship and artistry.We create excellence. But for whatever reason—lack of luck, overweening ambition, the physiology that creates anoperatic-size voice or Olympic athlete—we do not make it to the top.4We do not become CEOs of Fortune 500 companies. It’s hard for us to believe we have significance as individuals. Afterall, when we get sick, the show goes on and the audience doesn’t even notice. Yet collectively, we are indispensableand sometimes magnificent.5Without us, the CEO would not have a company nor the conductor an instrument. A lonely picture, that: the conductordancing up there on the podium,* waving his or her arms, reaching for sound and receiving none, because the notfamous suddenly stopped.6We have a particular kind of courage—not the courage of those who climb mountains, but the courage of those whoshow up and practice. Not every day, perhaps, or even every year. We take time off to attend to loved ones or earn aliving or indulge our exhaustion—but once that’s accomplished, back we come. It puzzles and amazes me. The obviousrewards—money and recognition—aren’t there, and the price is high. It would be so much less trouble to sit home andwatch television.7The reason for this glorious insanity, it seems to me, has something to do with an invisible instrument we all carry inside—a creative spirit that must be expressed if the soul is not to die.8If you find yourself pulled beyond all practicality toward doing something—writing poetry, building a business, restoringold cars, planting a secret garden; if at four in the morning the right word comes to you, the perfect flower to plant in thatparticular spot—you are playing your invisible instrument.9For me, the invisible instrument manifests through the voice, that mysterious sound maker composed of vocal cords,lips, tongue, breath, and spirit. It’s a peculiar and fascinating instrument, a peculiar and fascinating life.10There is never enough time. It is harder than you ever imagined. You are never as good as you want to be. And iftonight was nearly perfect, watch out, because tomorrow you may slip up and commit the chorister’s greatest sin—singing an “unpaid solo.”11Always, always they will ask you to give more—more concentration, more purity of sound, better line, finer adagio.**They will ask and you will ask it of yourself. You will especially ask yourself what you are doing here after a hard day’swork at your day job, when you don’t feel that good anyway, and your spouse is mad at you, and your kids say younever get anything right, and there isn’t enough money to pay all of the bills. Then suddenly it flows—a bar, a phrase,perhaps even a whole movement—and you are the physical instrument of something higher.12




Then you know again creation’s assignment: to learn the notes, to find your music. The invisible instrument is the oneinstrument we must all learn to play.*podium: an elevated platform for an orchestra conductor or public speaker**adagio: a slow passage, movement, or musical work“Overture: Playing the Invisible Instrument” from How Can We Keep From Singing: Music and The Passionate Life byJoan Oliver Goldsmith. Copyright © 2001 by Joan Oliver Goldsmith. Used by permission of the author.

27 What does the phrase “invisible instrument”represent?

A. a passion or love for an area of interest

B. a life full of musical adventure

C. a skill or natural talent in one’s craft

D. a desire to achieve greatness







The Picture of Dorian GreyRead the passage below from Oscar Wilde’s The Picture of Dorian Grey and answer the questions that follow.

“Basil, my dear boy, puts everything that is charming in him into his work. The consequence is that he has nothingleft for life but his prejudices, his principles, and his common-sense. The only artists I have ever known, who arepersonally delightful, are bad artists. Good artists exist simply in what they make, and consequently are perfectlyuninteresting in what they are. A great poet, a really great poet, is the most unpoetical of all creatures. But inferiorpoets are absolutely fascinating. The worse their rhymes are, the more picturesque they look. The mere fact ofhaving published a book of second-rate sonnets makes a man quite irresistible. He lives the poetry that he cannotwrite. The others write the poetry that they dare not realize.”

28 How is the syntax in this device effective?

A. The inversion of the two phrases throws the twokinds of “poet” into sharp contrast with oneanother

B. The inverted syntax highlights the fact thatthey’re discussing poetr

C. The zeugma creates a sense of comedy whenthinking about the “second-rate poet”

D. The parallelism makes the two kinds of poetsseem more alike than they first appear to be onthe surface



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29 What is Wilde emphasizing through his use ofthis device?

A. He is emphasizing that poetry is written by dullpeople

B. He has noticed that art and life do not alwaysmatch each other

C. He is critiquing artists that wish to be seen asartistic without putting in the mental and/oremotional effort

D. He is highlighting the disconnect betweenpainting and poetry as artistic forms



CCSS.LA.11-12.RCCSS.LA.11-12.RL.CCR.4CCSS.LA.11-12.RL.11-12.4CCSS.LA.11-12.RI.11-12.4




Excerpt from Robert F. Kennedy's Speech Following the Death of Martin Luther King, Jr.

The following questions are related to this passage.

1. Martin Luther King dedicated his life to love and to justice between fellow human beings. He died in the causeof that2. effort. In this difficult day, in this difficult time for the United States, it's perhaps well to ask what kind of a nationwe3. are and what direction we want to move in. For those of you who are black -- considering the evidenceevidently is that4. there were white people who were responsible -- you can be filled with bitterness, and with hatred, and a desirefor5. revenge.

6. We can move in that direction as a country, in greater polarization -- black people amongst blacks, and whiteamongst7. whites, filled with hatred toward one another. Or we can make an effort, as Martin Luther King did, tounderstand,8. and to comprehend, and replace that violence, that stain of bloodshed that has spread across our land, with aneffort to9. understand, compassion, and love.

10. But we have to make an effort in the United States. We have to make an effort to understand, to get beyond,or go11. beyond these rather difficult times.

30 What is the effect of Kennedy’s repetition of colorin this excerpt?

A. To emphasize the differences between blacksand whites

B. To focus the audience on the fact that it was awhite man who shot Martin Luther King Jr.

C. To emphasize that while we might be divided byskin color, we are united in sorrow over theassassination

D. To let the audience know that he iscompassionate towards what the blackcommunity must be feeling



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31 What is the effect of the shift in Kennedy’sspeech?

A. In moving from personal experience to generalsorrow, Kennedy shows that he is sympatheticto the plight of African Americans

B. In moving from possible angry reactions to morepositive solutions, Kennedy offers the hurtingaudience an alternative to hate and retribution

C. In shifting from factual information tohypothetical scenarios, Kennedy outlines avision of hope for a brighter future

D. In shifting from condolence to the political future,Kennedy reinforces the idea that he could be astrong political leader







32 Where does Kennedy PRIMARILY shift his tonein the speech?

A. Between lines 1 and 2

B. In the middle of line 3

C. In the middle of line 7

D. Between lines 9 and 10




33 The arrangement of Kennedy’s speech is:

A. Beginning by outlining possible reactions to theassassination, to suggesting an ideal reaction toKing’s death

B. Opening with a thesis about blacks and whites,and then justifying that thesis with examples

C. From personal experiences to general realitiesabout race in America

D. From condolence on King’s death, to thepolitical realities ahead





Directions: Answer the following question(s) relating to the passage titled "Excerpt from Robert F. Kennedy'sSpeech Following the Death of Martin Luther King, Jr.".


Excerpt from Walden by Henry David Thoreau

For the following questions, consider this excerpt from Walden.

1. Still we live meanly, like ants; though the fable tells us that we were long ago changed into men; like pygmieswe fight2. with cranes; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluousand3. evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more thanhis ten4. fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say,let your5. affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keepyour6. accounts on your thumb-nail.

34 What is the effect of the arrangement of thepassage?

A. By starting with common mistakes and followingwith a good solution, Thoreau allows us torecognize our own errors, then provides us witha tempting solution.

B. By starting with a general idea about simplicity,he eases us into a complicated argument,providing details later.

C. By enumerating the details of a commonmisconception about living simply, he allows thereader to feel superior to others who are not yetin on the secret

D. By providing a thesis and supporting evidence,he works to convince the reader that his unusualidea about simplicity is correct




35 What is the effect of Thoreau saying “it is errorupon error, and clout upon clout” in line 2?

A. He emphasizes how important it is toconcentrate on the smaller details in life

B. He acknowledges that some people disagreewith his ideas about simplicity

C. He focuses the reader on the idea of “enviablewretchedness” in the next line

D. He emphasizes the negative effects of being toofocused on details in life







36 How is this passage arranged?

A. From general ideas about simplicity to specificexamples

B. From a misconception about living life simply toa fact about the simple life

C. From a common mistake that people make inliving their lives to a more ideal way to live life

D. From a main argument about simplicity tosupporting evidence





Directions: Answer the following question(s) relating to the passage titled "Excerpt from Walden by Henry DavidThoreau".


37 Having a strong grasp of syntax can allow awriter to . . .

A. Better understand his or her ideas by expressingthem clearly and concisely.

B. Better organize his or her essay in paragraphsby knowing where to begin and end eachsection.

C. Avoid errors in punctuation and spelling in his orher writing.

D. Make stronger rhetorical choices by makingchoices about the structure of sentences.



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38 Consider the following quote from ThomasMacaulay from his essay "The Advocates ofCharles I, Properly Chastised".

"We charge him with having broken hiscoronation-oath - and we are told that he kept hismarriage-vow! We accuse him of having given uphis people to the merciless inflictions of the mosthard-hearted of prelates - and the defense is thathe took his little son on his knee and kissedhim. We censure him for having violated thePetition of Right - and we are informed that hewas accustomed to hear prayers at six o'clock inthe morning."

What is the effect of Macaulay's use ofparallelism in this excerpt?

A. It emphasizes Macaulay's skepticism over theCrown's responses to his criticism of the King.

B. It emphasizes the legitimate responses thatMacaulay has received in response to hiscriticism of the King.

C. It emphasizes Macaulay's unwavering belief inthe rule of his King.

D. Parallelism is not in use in this excerpt.







39 Consider the following excerpt from Malcolm X'sspeech "The Ballot or the Bullet," delivered inCleveland, Ohio in 1964:

How can you thank a man for giving youwhat's already yours? How then can youthank him for giving you only part of what'salready yours? You haven't even madeprogress, if what's being given to you, youshould have had already. That's notprogress. And I love my Brother Lomax, theway he pointed out we're right back wherewe were in 1954. We're not even as far upas we were in 1954. We're behind where wewere in 1954. There's more segregationnow than there was in 1954. There's moreracial animosity, more racial hatred, moreracial violence today in 1964, than therewas in 1954. Where is the progress?

What is the effect of Malcolm X's use of therhetorical question in this excerpt?

A. The rhetorical questions lead you to Malcolm X'sconclusion that no progress has been madesince 1954.

B. Malcolm X seeks an honest answer to hisquestions, especially the one asking aboutprogress.

C. The use of the rhetorical question is emphasizesthe progress that has been made since 1954.

D. The use of the rhetorical question demonstratesthe confusing nature of the Civil Rightsmovement.







Excerpt from the Screenplay of Monty Python's "Life of Brian"

The following is an excerpt from the script of Monty Python's film, "The Life of Brian." The characters involved inthe scene are living in Jerusalem in biblical times; they are part of a group that is rebelling against the Romans.

Reg: And what have they [the Romans] ever given us in return?

Xerxes: The aqueduct.

Reg: Oh yeah, yeah they gave us that. Yeah. That's true.

Masked Activist: And the sanitation!

Stan: Oh yes... sanitation, Reg, you remember what the city used to be like.

Reg: All right, I'll grant you that the aqueduct and the sanitation are two things that the Romans have done...

Matthias :And the roads...

Reg: (sharply) Well yes obviously the roads... the roads go without saying. But apart from the aqueduct, thesanitation and the roads...

Another Masked Activist: Irrigation...

Other Masked Voices: Medicine... Education... Health...

Reg: Yes... all right, fair enough...

Activist Near Front: And the wine...

Omnes: Oh yes! True!

Francis: Yeah. That's something we'd really miss if the Romans left, Reg.

Masked Activist at Back: Public baths!

Stan: And it's safe to walk in the streets at night now.

Francis: Yes, they certainly know how to keep order... (general nodding)... let's face it, they're the only ones whocould in a place like this.

(more general murmurs of agreement)

Reg: All right... all right... but apart from better sanitation and medicine and education and irrigation and publichealth and roads and a freshwater system and baths and public order... what have the Romans done for us?




40 The rhetorical question in this scene is used tocreate the effect of . . .

A. Emphasis

B. Engagement

C. Humor

D. Emotional response







the necklaceThe Necklace

By Guy de Maupassant

The girl was one of those pretty and charming young creatures who sometimes are born, as if by a slip of fate,into a family of clerks. She had no dowry, no expectations, no way of being known, understood, loved, married byany rich and distinguished man; so she let herself be married to a little clerk of the Ministry of Public Instruction.

She dressed plainly because she could not dress well, but she was unhappy as if she had really fallen from ahigher station; since with women there is neither caste nor rank, for beauty, grace and charm take the place offamily and birth. Natural ingenuity, instinct for what is elegant, a supple mind are their sole hierarchy, and oftenmake of women of the people the equals of the very greatest ladies.

Mathilde suffered ceaselessly, feeling herself born to enjoy all delicacies and all luxuries. She was distressed atthe poverty of her dwelling, at the bareness of the walls, at the shabby chairs, the ugliness of the curtains. Allthose things, of which another woman of her rank would never even have been conscious, tortured her and madeher angry. The sight of the little Breton peasant who did her humble housework aroused in her despairing regretsand bewildering dreams. She thought of silent antechambers hung with Oriental tapestry, illumined by tall bronzecandelabra, and of two great footmen in knee breeches who sleep in the big armchairs, made drowsy by theoppressive heat of the stove. She thought of long reception halls hung with ancient silk, of the dainty cabinetscontaining priceless curiosities and of the little coquettish perfumed reception rooms made for chatting at fiveo'clock with intimate friends, with men famous and sought after, whom all women envy and whose attention theyall desire.

When she sat down to dinner, before the round table covered with a tablecloth in use three days, opposite herhusband, who uncovered the soup tureen and declared with a delighted air, "Ah, the good soup! I don't knowanything better than that," she thought of dainty dinners, of shining silverware, of tapestry that peopled the wallswith ancient personages and with strange birds flying in the midst of a fairy forest; and she thought of deliciousdishes served on marvellous plates and of the whispered gallantries to which you listen with a sphinxlike smilewhile you are eating the pink meat of a trout or the wings of a quail.

She had no gowns, no jewels, nothing. And she loved nothing but that. She felt made for that. She would haveliked so much to please, to be envied, to be charming, to be sought after.

She had a friend, a former schoolmate at the convent, who was rich, and whom she did not like to go to see anymore because she felt so sad when she came home.

But one evening her husband reached home with a triumphant air and holding a large envelope in his hand.

"There," said he, "there is something for you."

She tore the paper quickly and drew out a printed card which bore these words:




The Minister of Public Instruction and Madame Georges Ramponneau request the honor of M. and MadameLoisel's company at the palace of the Ministry on Monday evening, January 18th.

Instead of being delighted, as her husband had hoped, she threw the invitation on the table crossly, muttering:

"What do you wish me to do with that?"

"Why, my dear, I thought you would be glad. You never go out, and this is such a fine opportunity. I had greattrouble to get it. Every one wants to go; it is very select, and they are not giving many invitations to clerks. Thewhole official world will be there."

She looked at him with an irritated glance and said impatiently:

"And what do you wish me to put on my back?"

He had not thought of that. He stammered:

"Why, the gown you go to the theatre in. It looks very well to me."

He stopped, distracted, seeing that his wife was weeping. Two great tears ran slowly from the corners of her eyestoward the corners of her mouth.

"What's the matter? What's the matter?" he answered.

By a violent effort she conquered her grief and replied in a calm voice, while she wiped her wet cheeks:

"Nothing. Only I have no gown, and, therefore, I can't go to this ball. Give your card to some colleague whose wifeis better equipped than I am."

He was in despair. He resumed:

"Come, let us see, Mathilde. How much would it cost, a suitable gown, which you could use on other occasions--something very simple?"

She reflected several seconds, making her calculations and wondering also what sum she could ask withoutdrawing on herself an immediate refusal and a frightened exclamation from the economical clerk.




Finally she replied hesitating:

"I don't know exactly, but I think I could manage it with four hundred francs."

He grew a little pale, because he was laying aside just that amount to buy a gun and treat himself to a littleshooting next summer on the plain of Nanterre, with several friends who went to shoot larks there of a Sunday.

But he said:

"Very well. I will give you four hundred francs. And try to have a pretty gown."

The day of the ball drew near and Madame Loisel seemed sad, uneasy, anxious. Her frock was ready, however.Her husband said to her one evening:

"What is the matter? Come, you have seemed very queer these last three days."

And she answered:

"It annoys me not to have a single piece of jewelry, not a single ornament, nothing to put on. I shall look poverty-stricken. I would almost rather not go at all."

"You might wear natural flowers," said her husband. "They're very stylish at this time of year. For ten francs youcan get two or three magnificent roses."

She was not convinced.

"No; there's nothing more humiliating than to look poor among other women who are rich."

"How stupid you are!" her husband cried. "Go look up your friend, Madame Forestier, and ask her to lend yousome jewels. You're intimate enough with her to do that."

She uttered a cry of joy:

"True! I never thought of it."




The next day she went to her friend and told her of her distress.

Madame Forestier went to a wardrobe with a mirror, took out a large jewel box, brought it back, opened it andsaid to Madame Loisel:

"Choose, my dear."

She saw first some bracelets, then a pearl necklace, then a Venetian gold cross set with precious stones, ofadmirable workmanship. She tried on the ornaments before the mirror, hesitated and could not make up her mindto part with them, to give them back. She kept asking:

"Haven't you any more?"

"Why, yes. Look further; I don't know what you like."

Suddenly she discovered, in a black satin box, a superb diamond necklace, and her heart throbbed with animmoderate desire. Her hands trembled as she took it. She fastened it round her throat, outside her high-neckedwaist, and was lost in ecstasy at her reflection in the mirror.

Then she asked, hesitating, filled with anxious doubt:

"Will you lend me this, only this?"

"Why, yes, certainly."

She threw her arms round her friend's neck, kissed her passionately, then fled with her treasure.

The night of the ball arrived. Madame Loisel was a great success. She was prettier than any other womanpresent, elegant, graceful, smiling and wild with joy. All the men looked at her, asked her name, sought to beintroduced. All the attaches of the Cabinet wished to waltz with her. She was remarked by the minister himself.

She danced with rapture, with passion, intoxicated by pleasure, forgetting all in the triumph of her beauty, in theglory of her success, in a sort of cloud of happiness comprised of all this homage, admiration, these awakeneddesires and of that sense of triumph which is so sweet to woman's heart.

She left the ball about four o'clock in the morning. Her husband had been sleeping since midnight in a littledeserted anteroom with three other gentlemen whose wives were enjoying the ball.




He threw over her shoulders the wraps he had brought, the modest wraps of common life, the poverty of whichcontrasted with the elegance of the ball dress. She felt this and wished to escape so as not to be remarked by theother women, who were enveloping themselves in costly furs.

Loisel held her back, saying: "Wait a bit. You will catch cold outside. I will call a cab."

But she did not listen to him and rapidly descended the stairs. When they reached the street they could not find acarriage and began to look for one, shouting after the cabmen passing at a distance.

They went toward the Seine in despair, shivering with cold. At last they found on the quay one of those ancientnight cabs which, as though they were ashamed to show their shabbiness during the day, are never seen roundParis until after dark.

It took them to their dwelling in the Rue des Martyrs, and sadly they mounted the stairs to their flat. All was endedfor her. As to him, he reflected that he must be at the ministry at ten o'clock that morning.

She removed her wraps before the glass so as to see herself once more in all her glory. But suddenly she uttereda cry. She no longer had the necklace around her neck!

"What is the matter with you?" demanded her husband, already half undressed.

She turned distractedly toward him.

"I have--I have--I've lost Madame Forestier's necklace," she cried.

He stood up, bewildered.

"What!--how? Impossible!"

They looked among the folds of her skirt, of her cloak, in her pockets, everywhere, but did not find it.

"You're sure you had it on when you left the ball?" he asked.

"Yes, I felt it in the vestibule of the minister's house."




"But if you had lost it in the street we should have heard it fall. It must be in the cab."

"Yes, probably. Did you take his number?"

"No. And you--didn't you notice it?"

"No."

They looked, thunderstruck, at each other. At last Loisel put on his clothes.

"I shall go back on foot," said he, "over the whole route, to see whether I can find it."

He went out. She sat waiting on a chair in her ball dress, without strength to go to bed, overwhelmed, without anyfire, without a thought.

Her husband returned about seven o'clock. He had found nothing.

He went to police headquarters, to the newspaper offices to offer a reward; he went to the cab companies--everywhere, in fact, whither he was urged by the least spark of hope.

She waited all day, in the same condition of mad fear before this terrible calamity.

Loisel returned at night with a hollow, pale face. He had discovered nothing.

"You must write to your friend," said he, "that you have broken the clasp of her necklace and that you are having itmended. That will give us time to turn round."

She wrote at his dictation.

At the end of a week they had lost all hope. Loisel, who had aged five years, declared:

"We must consider how to replace that ornament."

The next day they took the box that had contained it and went to the jeweler whose name was found within. Heconsulted his books.




"It was not I, madame, who sold that necklace; I must simply have furnished the case."

Then they went from jeweler to jeweler, searching for a necklace like the other, trying to recall it, both sick withchagrin and grief.

They found, in a shop at the Palais Royal, a string of diamonds that seemed to them exactly like the one they hadlost. It was worth forty thousand francs. They could have it for thirty-six.

So they begged the jeweler not to sell it for three days yet. And they made a bargain that he should buy it back forthirty-four thousand francs, in case they should find the lost necklace before the end of February.

Loisel possessed eighteen thousand francs which his father had left him. He would borrow the rest.

He did borrow, asking a thousand francs of one, five hundred of another, five louis here, three louis there. Hegave notes, took up ruinous obligations, dealt with usurers and all the race of lenders. He compromised all therest of his life, risked signing a note without even knowing whether he could meet it; and, frightened by the troubleyet to come, by the black misery that was about to fall upon him, by the prospect of all the physical privations andmoral tortures that he was to suffer, he went to get the new necklace, laying upon the jeweler's counter thirty-sixthousand francs.

When Madame Loisel took back the necklace Madame Forestier said to her with a chilly manner:

"You should have returned it sooner; I might have needed it."

She did not open the case, as her friend had so much feared. If she had detected the substitution, what would shehave thought, what would she have said? Would she not have taken Madame Loisel for a thief?

Thereafter Madame Loisel knew the horrible existence of the needy. She bore her part, however, with suddenheroism. That dreadful debt must be paid. She would pay it. They dismissed their servant; they changed theirlodgings; they rented a garret under the roof.

She came to know what heavy housework meant and the odious cares of the kitchen. She washed the dishes,using her dainty fingers and rosy nails on greasy pots and pans. She washed the soiled linen, the shirts and thedishcloths, which she dried upon a line; she carried the slops down to the street every morning and carried up thewater, stopping for breath at every landing. And dressed like a woman of the people, she went to the fruiterer, thegrocer, the butcher, a basket on her arm, bargaining, meeting with impertinence, defending her miserable money,sou by sou.

Every month they had to meet some notes, renew others, obtain more time.




Her husband worked evenings, making up a tradesman's accounts, and late at night he often copied manuscriptfor five sous a page.

This life lasted ten years.

At the end of ten years they had paid everything, everything, with the rates of usury and the accumulations of thecompound interest.

Madame Loisel looked old now. She had become the woman of impoverished households--strong and hard andrough. With frowsy hair, skirts askew and red hands, she talked loud while washing the floor with great swishes ofwater. But sometimes, when her husband was at the office, she sat down near the window and she thought ofthat gay evening of long ago, of that ball where she had been so beautiful and so admired.

What would have happened if she had not lost that necklace? Who knows? who knows? How strange andchangeful is life! How small a thing is needed to make or ruin us!

But one Sunday, having gone to take a walk in the Champs Elysees to refresh herself after the labors of theweek, she suddenly perceived a woman who was leading a child. It was Madame Forestier, still young, stillbeautiful, still charming.

Madame Loisel felt moved. Should she speak to her? Yes, certainly. And now that she had paid, she would tellher all about it. Why not?

She went up.

"Good-day, Jeanne."

The other, astonished to be familiarly addressed by this plain good-wife, did not recognize her at all andstammered:

"But--madame!--I do not know---- You must have mistaken."

"No. I am Mathilde Loisel."

Her friend uttered a cry.




"Oh, my poor Mathilde! How you are changed!"

"Yes, I have had a pretty hard life, since I last saw you, and great poverty--and that because of you!"

"Of me! How so?"

"Do you remember that diamond necklace you lent me to wear at the ministerial ball?"

"Yes. Well?"

"Well, I lost it."

"What do you mean? You brought it back."

"I brought you back another exactly like it. And it has taken us ten years to pay for it. You can understand that itwas not easy for us, for us who had nothing. At last it is ended, and I am very glad."

Madame Forestier had stopped.

"You say that you bought a necklace of diamonds to replace mine?"

"Yes. You never noticed it, then! They were very similar."

And she smiled with a joy that was at once proud and ingenuous.

Madame Forestier, deeply moved, took her hands.

"Oh, my poor Mathilde! Why, my necklace was paste! It was worth at most only five hundred francs!"




41 Which statement best summarizes the irony ofthis story?

A. Although a friend likes to be generous toanother friend, the indebtedness can sour afriendship

B. People overly concerned with appearances canbe undone by appearances.

C. A couple loses everything when they attempt tomix in wealth with society

D. A person born into wealth seldom struggles tostay wealthy



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42 Madame Loisel is “full of a proud, simple joy” thatshe has replaced the necklace so perfectly. Inwhat way is her feeling ironic?

A. Madame Loisel had thought she would neverfeel joy again

B. Until then, she had felt inferior to MadameForestier

C. The necklace turns out no to be so perfectlymatched

D. It was Madame Loisel’s pride that had ruinedher.




43 How does Madame Loisel’s anguish (extremesadness) about borrowing the necklace turn outto be ironic?

A. She does not enjoy wearing the necklace

B. No one notices her at the reception

C. The necklace later causes her even more worry

D. Madame Forestier hardly misses the necklace





Directions: Answer the following question(s) relating to the passage titled "the necklace".


eminemThe rapper Eminem is well-known for his song writing ability, but he is equally known for his shockingly profaneand obscene lyrical content. Eminem has made a fortune selling his curse filled songs to millions of childrenaround the world. But, on 60 Minutes interview, Eminem claimed that there was no swearing in his own home andthat his children were not allowed to play music with curse words, including his own tracks.

44 Why is this situation ironic?

A. One might expect for swearing to be allowed inEminem’s home, but it is not

B. Eminem is able to sell records even though heuses a lot of swear words

C. Eminem makes money by rapping

D. All of the above







45 According to the passage, natural laws aretemporarily suspended on occasion so that

A. the principles of God’s art can be revealed

B. God can prove that he can alter these laws

C. God can fashion new principles of design

D. nature can be perfected

E. “heathens’’ can be made to admire God’screation




46 Which of the following best summarizes the maintopic of thepassage?

A. The necessity for earthly creatures to adore theircreator

B. The beauty and perfection of nature

C. Nature as evidence of God’s greatness

D. The differences between human and divinecreations

E. The different ways “heathens’’ and Christiansview nature







"Her Kind" by Anne SextonI have gone out, a possessed witch, haunting the black air, braver at night; dreaming evil, I have done my hitch over the plain houses, light by light: lonely thing, twelve-fingered, out of mind. A woman like that is not a woman, quite. I have been her kind. I have found the warm caves in the woods, filled them with skillets, carvings, shelves, closets, silks, innumerable goods;fixed the suppers for the worms and the elves: whining, rearranging the disaligned.A woman like that is misunderstood.I have been her kind. I have ridden in your cart, driver,waved my nude arms at villages going by, learning the last bright routes, survivor where your flames still bite my thighand my ribs crack where your wheels wind. A woman like that is not ashamed to die. I have been her kind.

47 Which of the following statements BESTexpresses the main theme of “Her Kind”?

A. Women are comparable to witches in terms oftheir place in society.

B. Outcasts are created by the unfair societalexpectations placed upon them by society.

C. Women rebel against societal expectations bypracticing witchcraft.

D. The speaker of the poem thinks of herself as anoutcast and sympathizes with other women whoare outcasts.







"Funeral Blues" by W.H. AudenStop all the clocks, cut off the telephone.Prevent the dog from barking with a juicy bone,Silence the pianos and with muffled drumBring out the coffin, let the mourners come.

Let aeroplanes circle moaning overheadScribbling in the sky the message He is Dead,Put crêpe bows round the white necks of the public doves,Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West,My working week and my Sunday restMy noon, my midnight, my talk, my song;I thought that love would last forever, I was wrong.

The stars are not wanted now; put out every one,Pack up the moon and dismantle the sun.Pour away the ocean and sweep up the wood;For nothing now can ever come to any good.

48 Which stanza from the poem BEST expressesthe main theme of “Funeral Blues”?

A. Stanza 1

B. Stanza 2

C. Stanza 3

D. Stanza 4







49 If a student has read a story and does notunderstand an important element, that studentshould:

A. use context clues.

B. set up Cornell notes.

C. compare it to another story he knows well.

D. reread to clarify missing ideas.







overtureOverture: Playing the Invisible Instrumentby Joan Oliver Goldsmith 1When I make music, adventures happen. I sit at the feet of a grand old lady of spirituals, who tells stories of CarnegieHall recitals. I find myself on stage in Mexico City singing Mahler’s glorious Symphony of a Thousand. I am awed by therich contributions made by the not famous—the fifteenth violinist, the accompanist, the singers in the chorus—themultitudes of voices who sing Beethoven’s Ninth at Orchestra Hall, but never at the Met. We teach, drive school buses,write corporate brochures, whatever it takes—but we keep singing.2We’re everywhere—the passionate, committed, talented, frequently unpaid or underpaid workers who make possiblethe great things of life. We’re the utility infielder, the middle manager, the small-enterprise entrepreneur.3We are described by what we do, not by labels like professional or amateur. We work with craftsmanship and artistry.We create excellence. But for whatever reason—lack of luck, overweening ambition, the physiology that creates anoperatic-size voice or Olympic athlete—we do not make it to the top.4We do not become CEOs of Fortune 500 companies. It’s hard for us to believe we have significance as individuals. Afterall, when we get sick, the show goes on and the audience doesn’t even notice. Yet collectively, we are indispensableand sometimes magnificent.5Without us, the CEO would not have a company nor the conductor an instrument. A lonely picture, that: the conductordancing up there on the podium,* waving his or her arms, reaching for sound and receiving none, because the notfamous suddenly stopped.6We have a particular kind of courage—not the courage of those who climb mountains, but the courage of those whoshow up and practice. Not every day, perhaps, or even every year. We take time off to attend to loved ones or earn aliving or indulge our exhaustion—but once that’s accomplished, back we come. It puzzles and amazes me. The obviousrewards—money and recognition—aren’t there, and the price is high. It would be so much less trouble to sit home andwatch television.7The reason for this glorious insanity, it seems to me, has something to do with an invisible instrument we all carry inside—a creative spirit that must be expressed if the soul is not to die.8If you find yourself pulled beyond all practicality toward doing something—writing poetry, building a business, restoringold cars, planting a secret garden; if at four in the morning the right word comes to you, the perfect flower to plant in thatparticular spot—you are playing your invisible instrument.9For me, the invisible instrument manifests through the voice, that mysterious sound maker composed of vocal cords,lips, tongue, breath, and spirit. It’s a peculiar and fascinating instrument, a peculiar and fascinating life.10There is never enough time. It is harder than you ever imagined. You are never as good as you want to be. And iftonight was nearly perfect, watch out, because tomorrow you may slip up and commit the chorister’s greatest sin—singing an “unpaid solo.”11Always, always they will ask you to give more—more concentration, more purity of sound, better line, finer adagio.**They will ask and you will ask it of yourself. You will especially ask yourself what you are doing here after a hard day’swork at your day job, when you don’t feel that good anyway, and your spouse is mad at you, and your kids say younever get anything right, and there isn’t enough money to pay all of the bills. Then suddenly it flows—a bar, a phrase,perhaps even a whole movement—and you are the physical instrument of something higher.12




Then you know again creation’s assignment: to learn the notes, to find your music. The invisible instrument is the oneinstrument we must all learn to play.*podium: an elevated platform for an orchestra conductor or public speaker**adagio: a slow passage, movement, or musical work“Overture: Playing the Invisible Instrument” from How Can We Keep From Singing: Music and The Passionate Life byJoan Oliver Goldsmith. Copyright © 2001 by Joan Oliver Goldsmith. Used by permission of the author.

50 Read the excerpt from the passage.

. . . tomorrow you may slip up and committhe chorister’s greatest sin—singing an“unpaid solo.”

What tone is created by the choice of words inthe excerpt?

A. somber

B. judgmental

C. earnest

D. humorous



CCSS.LA.11-12.RCCSS.LA.11-12.RL.CCR.4

51 What tone is created by the author’s use ofwords such as “awed by,” “passionate,”“craftsmanship,” and “artistry”?

A. affectionate

B. wishful

C. respectful

D. arrogant



CCSS.LA.11-12.RCCSS.LA.11-12.RL.CCR.4


Directions: Answer the following question(s) relating to the passage titled "overture".


52 Read this sentence.

Pulling her collar up around her neck withher free hand, she cradled her thirty-five-millimeter single-lens reflex camera insideher coat with her other hand, keeping itwarm with her body heat as though it were asmall, delicate animal.

The author uses the word cradled to show thatthe narrator

A. cherishes her camera.

B. thinks of her camera as something alive

C. holds her camera absentmindedly

D. worries about the effect of cold on her camera.






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