5. E 6. C 7. ABC 8. C 9. A 10. B 11. C 12. B 13. A 14. D
15. ABCD 16. A 17. E
18. ABCD 19. E 20. D 21. A 22. D 23. AB 24. ABC 25. B 26. ABCD 27. C 28. D 29. A 30. ABC 31. A 32. D
33. ABCD 34. ABCD 35. ABC 36. E 37. B 38. D 39. ABC 40. AB 41. B 42. A 43. A 44. A 45. B 46. ABC 47. ABC 48. ABC
49. ABCDE IV. Identify the fragments.
Passage 1
1. Ezra Pound
2. The writer uses the image of \3. In In a Station of the Metro Pound attempts to produce the emotion he felt when he
walked down into a Paris subway station and suddenly saw a number of faces in the dim light. To capture the emotion, Pound uses the image of petals on a wet, black bough. The image is not decoration; It is central to the poem's mean ing. In fact, it is the poem's meaning.
Passage 2
1. Richard Cory
2. Edwin Arlington Robinson
3. The \
the rich. But Richard Cory is the rich person who is admired by the poor, and appears to be calm and smart, but with a heart of suicidal despairing.
4. Yes, it is an example of verbal irony. Verbal irony occurs when words that appear to
be saying one thing are really saying something quite different. 5. Yes.
Passage 3
1. 2. 3. 4.
Robert Frost
\
It shows a kind of sad, sentimental but also strong and responsible feeling.
It is one of the most quietly moving of Frost' s lyrics. On the surface, it seems to be simple, descriptive verses, records of close observation, graphic and homely pictures. It uses the simplest terms and commonest words. But it is deeply
meditative, adding far-reaching meanings to the homely music. It uses its superb craftsmanship to come to a climax of responsibility: the promises to be kept, the obligation to be fulfilled. Few poems have said so much in so little.
Passage 4
1. Chicago
2. Carl Sandburg
3. Hog butcher for the world
Passage 6
1. Thomas Stearns Eliot
2. a patient etherized upon a table
3. He is a tragic figure. The plight of this hesitant, inhabited man, an aging dreamer
trapped in decayed, shabby-genteel surroundings, aware of beauty and faced with sordidness, mirrors the plight of the sensitive in the presence of the dull.
4. Yes, it is a dramatic monologue. He is a character created by Eliot, and he speaks
directly to us. He tells us his thoughts in leaps and bounds, jumping from one image to another, just as a human mind does.
Passage 8
1. The Waste Land
2. Thomas Stearns Eliot
3. The theme of the poem is modern spiritual barrenness, the despair and depression
that followed the First World War, the sterility and turbulence of the modern world, and the decline and breakdown of Western culture.
Passage 9
1. The Great Gatsby 2. F. Scott Fitzgerald
3. The author criticized them as selfish, hypocritical persons.
Passage 10
1. A Farewell to Arms 2. Ernest Hemingway
3. Hemingway manages to choose words concrete, specific, more commonly found,
more casual and conversational. He employs these kinds of words often in a syntax of short, simple sentences, which are orderly and patterned and sometimes ungrammatical.
Passage 11
1. The Grapes of Wrath 2. John Steinbeck
Passage 12
1. A Rose for Emily 2. William Faulkner V. Analyze the main works. Work 3:
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This poem is written in classic five-line stanzas, with the rhyme scheme a-b-a-a-b
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and conversational rhythm. The poem seems to be about the poet, walking in the woods in autumn, choosing which road he should follow on his walk. In reality, it concerns the important decisions which one must make in life, when one must give up one desirable thing in order to possess another. Then, whatever the outcome, one must accept the consequences of one' s choice for it is not possible to go back and have another chance to choose differently.
In the poem, the poet hesitates for a long time, wondering which road to take, because they are both pretty. In the end, he follows the one which seems to have fewer travelers on it. Symbolically, he chose to follow an unusual, solitary life;
perhaps he was speaking of his choice to become a poet rather than some commoner profession. But he always remembers the road which he might have taken, and which would have given him a different kind of life.
Work 10:
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The entire story takes place in one summer in 1922. The novel describes the life and death of Jay Gatsby, as seen through the eyes of a narrator who does not share the same point of view as the fashionable people around him. The narrator learns that Gatsby became rich by breaking the law. Gatsby pretends to be a well-educated war hero, which he is not, yet the narrator portrays him as being far more noble than the rich, cruel, stupid people among whom he and Gatsby live. Gatsby' s character is purified by a deep, unselfish love for Daisy, a beautiful, silly woman who, earlier, married a rich husband instead of Gatsby and moved into high society. Gatsby has never lost his love for her and, in an era when divorce has become easy, he tries to win her back by becoming extravagantly rich himself. He does not succeed, and in the end he is killed almost by accident because of his determination to shield Daisy from disgrace. None of Gatsby' s upper class friends come to his funeral. The
narrator is so disgusted that he leaves New York and returns to his original home in the provinces.
The Chapter 3, describes one of Gatsby' s fabulous parties at his expensive, rented estate near New York; it is the first such party that the narrator has attended. There is a passage which begins with a description of the elaborate preparations, which he watches from the house next door, and continues with his observations as one of the guests. He evokes a vivid atmosphere of contradiction; the party is crowded yet empty of warmth or friendship, the charm and sweetness of youth is spoiled by
triviality and tawdriness, the splendid house and garden have been purchased not for enjoyment but for the purpose of making an impression.
Work 11: The Grapes of Wrath
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The Grapes of Wrath is one of the major American books. The title of the book comes from \which there are the lines, \Lord,/He is tramping out the vintage where the grapes of wrath are stored. \implication of this is that as injustice is building up and up, something is going to
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explode into violence. The Grapes of Wrath is a crisis novel. It is Steinbeck' s clear expression of sympathy with the dispossessed and the wretched. The Great
Depression throws the country into abject chaos and makes life intolerable for the luckless millions. One of the worst stricken areas is the central prairie lands. There farmers become bankrupt and begin to move in a body toward California, where they hope to have a better life. The westering is a most tragic and brutalizing human experience for families like the Joads. There are unspeakable pain and suffering on the road, and death occurs frequently. Everywhere they travel, they see a universal landscape of decay and desolation. When they reach California and try to settle down, they meet with bitter resistance from the local landowners. Iniquity is
widespread and wrath is about to overwhelm patience. The prophecy of an imminent explosion is sent forth from the anger—saturated pages; \people are hungry and cold they will take by force what they need\saying. \fire... Slaughter the pigs and bury them, and let the putrescence drip down into the earth. \
denunciation. \wrath are filling and growing heavy. Something in the nature of a social revolution would be imminent, the book is in effect saying, if nothing is done to stop the detonation. This is perhaps one of the reasons why the book was for many years banned.
Structurally, The Grapes of Wrath consists of two blocks of material: the westward trek of the Joads and the dispossessed Oklahomans, and the general picture of the Great Depression. The fact that the intercalary chapters are dispersed in between others tends to give one the impression of a formal looseness not to be tolerated in a good work of art. However, critical research has revealed a close relationship be-tween the two parts of the book. The interchapters function as informational and in-formative, offering, for instance, the social and historical background against which the characters move. We read the appalling description of drought at the beginning of the book to get ready for the unnerving population movement that constitutes its action. The dismal look of Highway 66 enables us to visualize the tragic nature of the trek of the Oklahomans. The chapters dealing with migrant life appear in between the narrative chapters of the actual westering journey, while the last
in-terchapter describes the rain in which the action of the novel ends. These are but some of the illustrations of the inherent unity of the novel.
The novel is structurally interesting for another, perhaps more important, reason , that its structure is dictated by the Bible. There are suggestions that the author was thinking about the Bible when writing the novel. The 30 chapters fall neatly into three sections, with the description of the drought in the first ten, the journeying in chapters 13 through 18, and the remaining 12 devoted to a narrative of the life of the migrants in California. These three sections correspond to \Old Testament. The Exodus tells about the bondage of the ancient Jews in Egypt, their escape out of it and journeying toward Canaan, the Promised Land. In distant times, so the story goes, the Jews went to Egypt in search of food and, haying stayed