Passage Content - GED Language Arts (RLA)

PASSAGE ONE

-The subject of this poem is Abraham Lincoln

O CAPTAIN! my Captain! our fearful trip is done,

The ship has weather'd every rack, the prize we sought is won,

The port is near, the bells I hear, the people all exulting,

While follow eyes the steady keel, the vessel grim and daring;

But O heart! heart! heart!

O the bleeding drops of red!

Where on the deck my Captain lies,

Fallen cold and dead.

…

My Captain does not answer, his lips are pale and still,

My father does not feel my arm, he has no pulse nor will;

The ship is anchor'd safe and sound, its voyage closed and done,

From fearful trip the victor ship comes in with object won;

Exult, O shores! and ring, O bells!

But I, with mournful tread,

Walk the deck my Captain lies,

Fallen cold and dead.

PASSAGE TWO

Bancroft's eulogy on Lincoln never pleased the latter's lifelong friends—those who knew him so thoroughly and well. February 16, 1866, David Davis, who had heard it, wrote me: "You will see Mr. Bancroft's oration before this reaches you. It is able, but Mr. Lincoln is in the background. His analysis of Mr. Lincoln's character is superficial. It did not please me. How did it satisfy you?" On the 22d he again wrote: "Mr. Bancroft totally misconceived Mr. Lincoln's character in applying 'unsteadiness' and confusion to it. Mr. Lincoln grew more steady and resolute, and his ideas were never confused. If there were any changes in him after he got here they were for the better. I thought him always master of his subject. He was a much more self-possessed man than I thought. He thought for himself, which is a rare quality nowadays. How could Bancroft know anything about Lincoln except as he judged of him as the public do? He never saw him, and is himself as cold as an icicle. I should never have selected an old Democratic politician, and that one from Massachusetts, to deliver an eulogy on Lincoln."

How would the author of Passage One respond to the statement made in Passage Two that “Mr. Bancroft totally misconceived Mr. Lincoln's character in applying 'unsteadiness' and confusion to it. Mr. Lincoln grew more steady and resolute, and his ideas were never confused”?

PASSAGE ONE

O CAPTAIN! my Captain! our fearful trip is done,

The ship has weather'd every rack, the prize we sought is won,

The port is near, the bells I hear, the people all exulting,

While follow eyes the steady keel, the vessel grim and daring;

But O heart! heart! heart!

O the bleeding drops of red!

Where on the deck my Captain lies,

Fallen cold and dead.

…

My Captain does not answer, his lips are pale and still,

My father does not feel my arm, he has no pulse nor will;

The ship is anchor'd safe and sound, its voyage closed and done,

From fearful trip the victor ship comes in with object won;

Exult, O shores! and ring, O bells!

But I, with mournful tread,

Walk the deck my Captain lies,

Fallen cold and dead.

PASSAGE TWO

Bancroft's eulogy on Lincoln never pleased the latter's lifelong friends—those who knew him so thoroughly and well. February 16, 1866, David Davis, who had heard it, wrote me: "You will see Mr. Bancroft's oration before this reaches you. It is able, but Mr. Lincoln is in the background. His analysis of Mr. Lincoln's character is superficial. It did not please me. How did it satisfy you?" On the 22d he again wrote: "Mr. Bancroft totally misconceived Mr. Lincoln's character in applying 'unsteadiness' and confusion to it. Mr. Lincoln grew more steady and resolute, and his ideas were never confused. If there were any changes in him after he got here they were for the better. I thought him always master of his subject. He was a much more self-possessed man than I thought. He thought for himself, which is a rare quality nowadays. How could Bancroft know anything about Lincoln except as he judged of him as the public do? He never saw him, and is himself as cold as an icicle. I should never have selected an old Democratic politician, and that one from Massachusetts, to deliver an eulogy on Lincoln."

Which of the following best describes the shift in tone between the beginning and end of Passage One?

PASSAGE ONE

O CAPTAIN! my Captain! our fearful trip is done,

The ship has weather'd every rack, the prize we sought is won,

The port is near, the bells I hear, the people all exulting,

While follow eyes the steady keel, the vessel grim and daring;

But O heart! heart! heart!

O the bleeding drops of red!

Where on the deck my Captain lies,

Fallen cold and dead.

…

My Captain does not answer, his lips are pale and still,

My father does not feel my arm, he has no pulse nor will;

The ship is anchor'd safe and sound, its voyage closed and done,

From fearful trip the victor ship comes in with object won;

Exult, O shores! and ring, O bells!

But I, with mournful tread,

Walk the deck my Captain lies,

Fallen cold and dead.

PASSAGE TWO

Bancroft's eulogy on Lincoln never pleased the latter's lifelong friends—those who knew him so thoroughly and well. February 16, 1866, David Davis, who had heard it, wrote me: "You will see Mr. Bancroft's oration before this reaches you. It is able, but Mr. Lincoln is in the background. His analysis of Mr. Lincoln's character is superficial. It did not please me. How did it satisfy you?" On the 22d he again wrote: "Mr. Bancroft totally misconceived Mr. Lincoln's character in applying 'unsteadiness' and confusion to it. Mr. Lincoln grew more steady and resolute, and his ideas were never confused. If there were any changes in him after he got here they were for the better. I thought him always master of his subject. He was a much more self-possessed man than I thought. He thought for himself, which is a rare quality nowadays. How could Bancroft know anything about Lincoln except as he judged of him as the public do? He never saw him, and is himself as cold as an icicle. I should never have selected an old Democratic politician, and that one from Massachusetts, to deliver an eulogy on Lincoln."

In Passage Two, what is the closest meaning of the bolded and underlined word “resolute”?

PASSAGE ONE

O CAPTAIN! my Captain! our fearful trip is done,

The ship has weather'd every rack, the prize we sought is won,

The port is near, the bells I hear, the people all exulting,

While follow eyes the steady keel, the vessel grim and daring;

But O heart! heart! heart!

O the bleeding drops of red!

Where on the deck my Captain lies,

Fallen cold and dead.

…

My Captain does not answer, his lips are pale and still,

My father does not feel my arm, he has no pulse nor will;

The ship is anchor'd safe and sound, its voyage closed and done,

From fearful trip the victor ship comes in with object won;

Exult, O shores! and ring, O bells!

But I, with mournful tread,

Walk the deck my Captain lies,

Fallen cold and dead.

PASSAGE TWO

Bancroft's eulogy on Lincoln never pleased the latter's lifelong friends—those who knew him so thoroughly and well. February 16, 1866, David Davis, who had heard it, wrote me: "You will see Mr. Bancroft's oration before this reaches you. It is able, but Mr. Lincoln is in the background. His analysis of Mr. Lincoln's character is superficial. It did not please me. How did it satisfy you?" On the 22d he again wrote: "Mr. Bancroft totally misconceived Mr. Lincoln's character in applying 'unsteadiness' and confusion to it. Mr. Lincoln grew more steady and resolute, and his ideas were never confused. If there were any changes in him after he got here they were for the better. I thought him always master of his subject. He was a much more self-possessed man than I thought. He thought for himself, which is a rare quality nowadays. How could Bancroft know anything about Lincoln except as he judged of him as the public do? He never saw him, and is himself as cold as an icicle. I should never have selected an old Democratic politician, and that one from Massachusetts, to deliver an eulogy on Lincoln."

The syntax of Passage Two is slightly more _________________ than that of Passage One?

PASSAGE ONE

O CAPTAIN! my Captain! our fearful trip is done,

The ship has weather'd every rack, the prize we sought is won,

The port is near, the bells I hear, the people all exulting,

While follow eyes the steady keel, the vessel grim and daring;

But O heart! heart! heart!

O the bleeding drops of red!

Where on the deck my Captain lies,

Fallen cold and dead.

…

My Captain does not answer, his lips are pale and still,

My father does not feel my arm, he has no pulse nor will;

The ship is anchor'd safe and sound, its voyage closed and done,

From fearful trip the victor ship comes in with object won;

Exult, O shores! and ring, O bells!

But I, with mournful tread,

Walk the deck my Captain lies,

Fallen cold and dead.

PASSAGE TWO

Bancroft's eulogy on Lincoln never pleased the latter's lifelong friends—those who knew him so thoroughly and well. February 16, 1866, David Davis, who had heard it, wrote me: "You will see Mr. Bancroft's oration before this reaches you. It is able, but Mr. Lincoln is in the background. His analysis of Mr. Lincoln's character is superficial. It did not please me. How did it satisfy you?" On the 22d he again wrote: "Mr. Bancroft totally misconceived Mr. Lincoln's character in applying 'unsteadiness' and confusion to it. Mr. Lincoln grew more steady and resolute, and his ideas were never confused. If there were any changes in him after he got here they were for the better. I thought him always master of his subject. He was a much more self-possessed man than I thought. He thought for himself, which is a rare quality nowadays. How could Bancroft know anything about Lincoln except as he judged of him as the public do? He never saw him, and is himself as cold as an icicle. I should never have selected an old Democratic politician, and that one from Massachusetts, to deliver an eulogy on Lincoln."

In which of these ways does the content of Passage One differ from Passage Two?

Adapted from Julius Caesar by William Shakespeare, III.ii.82-117 (1599)

\[This is a speech by Mark Antony\]

Friends, Romans, countrymen, lend me your ears!

I come to bury Caesar, not to praise him.

The evil that men do lives after them,

The good is oft interred with their bones;

So let it be with Caesar. The noble Brutus

Hath told you Caesar was ambitious;

If it were so, it was a grievous fault,

And grievously hath Caesar answer'd it.

Here, under leave of Brutus and the rest-

For Brutus is an honorable man;

So are they all, all honorable men-

Come I to speak in Caesar's funeral.

He was my friend, faithful and just to me;

But Brutus says he was ambitious,

And Brutus is an honorable man.

He hath brought many captives home to Rome,

Whose ransoms did the general coffers fill.

Did this in Caesar seem ambitious?

When that the poor have cried, Caesar hath wept;

Ambition should be made of sterner stuff:

Yet Brutus says he was ambitious,

And Brutus is an honorable man.

You all did see that on the Lupercal \[a public festival\]

I thrice presented him a kingly crown,

Which he did thrice refuse. Was this ambition?

Yet Brutus says he was ambitious,

And sure he is an honorable man.

I speak not to disprove what Brutus spoke,

But here I am to speak what I do know.

You all did love him once, not without cause;

What cause withholds you then to mourn for him?

O judgment, thou art fled to brutish beasts,

And men have lost their reason. Bear with me;

My heart is in the coffin there with Caesar,

And I must pause till it come back to me.

What is the overall purpose of this passage?

As he \[Dorian Gray\] thought of Hetty Merton, he began to wonder if the portrait in the locked room had changed. Surely it was not still so horrible as it had been? Perhaps if his life became pure, he would be able to expel every sign of evil passion from the face. Perhaps the signs of evil had already gone away. He would go and look.

. . .

He went in quietly, locking the door behind him, as was his custom, and dragged the purple hanging from the portrait. A cry of pain and indignation broke from him. He could see no change, save that in the eyes there was a look of cunning and in the mouth the curved wrinkle of the hypocrite. The thing was still loathsome—more loathsome, if possible, than before—and the scarlet dew that spotted the hand seemed brighter, and more like blood newly spilled. Then he trembled. Had it been merely vanity that had made him do his one good deed? Or the desire for a new sensation, as Lord Henry had hinted, with his mocking laugh? Or that passion to act a part that sometimes makes us do things finer than we are ourselves? Or, perhaps, all these? And why was the red stain larger than it had been? It seemed to have crept like a horrible disease over the wrinkled fingers. There was blood on the painted feet, as though the thing had dripped—blood even on the hand that had not held the knife. Confess? Did it mean that he was to confess? To give himself up and be put to death? He laughed. He felt that the idea was monstrous. Besides, even if he did confess, who would believe him? There was no trace of the murdered man anywhere. Everything belonging to him had been destroyed. He himself had burned what had been below-stairs. The world would simply say that he was mad. They would shut him up if he persisted in his story.... Yet it was his duty to confess, to suffer public shame, and to make public atonement. There was a God who called upon men to tell their sins to earth as well as to heaven. Nothing that he could do would cleanse him till he had told his own sin. His sin? He shrugged his shoulders. The death of Basil Hallward seemed very little to him. He was thinking of Hetty Merton. For it was an unjust mirror, this mirror of his soul that he was looking at. Vanity? Curiosity? Hypocrisy? Had there been nothing more in his renunciation than that? There had been something more. At least he thought so. But who could tell? ... No. There had been nothing more. Through vanity he had spared her. In hypocrisy he had worn the mask of goodness. For curiosity's sake he had tried the denial of self. He recognized that now.

Passage adapted from Oscar Wilde's The Picture of Dorian Gray (1891)

Which of the following is the best expression of the main idea of the passage?

On the 24th of February, 1815, the look-out at Notre-Dame de la Garde signalled the three-master, the Pharaon from Smyrna, Trieste, and Naples.

As usual, a pilot put off immediately, and rounding the Chateau d'If, got on board the vessel between Cape Morgion and Rion island.

Immediately, and according to custom, the ramparts of Fort Saint-Jean were covered with spectators; it is always an event at Marseilles for a ship to come into port, especially when this ship, like the Pharaon, has been built, rigged, and laden at the old Phocee docks, and belongs to an owner of the city.

The ship drew on and had safely passed the strait, which some volcanic shock has made between the Calasareigne and Jaros islands; had doubled Pomegue, and approached the harbor under topsails, jib, and spanker, but so slowly and sedately that the idlers, with that instinct which is the forerunner of evil, asked one another what misfortune could have happened on board. However, those experienced in navigation saw plainly that if any accident had occurred, it was not to the vessel herself, for she bore down with all the evidence of being skilfully handled, the anchor a-cockbill, the jib-boom guys already eased off, and standing by the side of the pilot, who was steering the Pharaon towards the narrow entrance of the inner port, was a young man, who, with activity and vigilant eye, watched every motion of the ship, and repeated each direction of the pilot.

The vague disquietude which prevailed among the spectators had so much affected one of the crowd that he did not await the arrival of the vessel in harbor, but jumping into a small skiff, desired to be pulled alongside the Pharaon, which he reached as she rounded into La Reserve basin.

When the young man on board saw this person approach, he left his station by the pilot, and, hat in hand, leaned over the ship's bulwarks.

He was a fine, tall, slim young fellow of eighteen or twenty, with black eyes, and hair as dark as a raven's wing; and his whole appearance bespoke that calmness and resolution peculiar to men accustomed from their cradle to contend with danger.

"Ah, is it you, Dantes?" cried the man in the skiff. "What's the matter? and why have you such an air of sadness aboard?"

"A great misfortune, M. Morrel," replied the young man,—"a great misfortune, for me especially! Off Civita Vecchia we lost our brave Captain Leclere."

Passage adapted from Alexandre Dumas' The Count of Monte Cristo (1844)

After reading the passage, were the spectators correct? And if so, how?

What dire offence from amorous causes springs,

What mighty contests rise from trivial things,

I sing — This verse to Caryl, Muse! is due:

This, even Belinda may vouchsafe to view:

Slight is the subject, but not so the praise, (5)

If She inspire, and He approve my lays.

… Sol thro’ white curtains shot a tim’rous ray,

And oped those eyes that must eclipse the day.

Now lapdogs give themselves the rousing shake,

And sleepless lovers just at twelve awake:(10)

Thrice rung the bell, the slipper knock’d the ground,

And the press’d watch return’d a silver sound.

Belinda still her downy pillow prest,

Her guardian Sylph prolong’d the balmy rest.

Based on these lines, what is this poem’s main theme?

1About thirty years ago Miss Maria Ward, of Huntingdon, with only seven thousand pounds, had the good luck to captivate Sir Thomas Bertram, of Mansfield Park, in the county of Northampton, and to be thereby raised to the rank of a baronet's lady, with all the comforts and consequences of an handsome house and large income. 2 All Huntingdon exclaimed on the greatness of the match, and her uncle, the lawyer, himself, allowed her to be at least three thousand pounds short of any equitable claim to it. 3 She had two sisters to be benefited by her elevation; and such of their acquaintance as thought Miss Ward and Miss Frances quite as handsome as Miss Maria, did not scruple to predict their marrying with almost equal advantage. 4 But there certainly are not so many men of large fortune in the world as there are pretty women to deserve them. 5 Miss Ward, at the end of half a dozen years, found herself obliged to be attached to the Rev. Mr. Norris, a friend of her brother-in-law, with scarcely any private fortune, and Miss Frances fared yet worse. 6 Miss Ward's match, indeed, when it came to the point, was not contemptible: Sir Thomas being happily able to give his friend an income in the living of Mansfield; and Mr. and Mrs. Norris began their career of conjugal felicity with very little less than a thousand a year. 7 But Miss Frances married, in the common phrase, to disoblige her family, and by fixing on a lieutenant of marines, without education, fortune, or connexions, did it very thoroughly. 8 She could hardly have made a more untoward choice.

Based on the content of the passage, what is the author’s opinion toward marriage?

From Julius Caesar by William Shakespeare, III.ii.13-33 (1599)

\[This is a speech by Brutus to a crowd at Caesar’s funeral.\]

Romans, countrymen, and lovers! Hear me for my

cause, and be silent, that you may hear. Believe me

for mine honor, and have respect to mine honor, that

you may believe. Censure me in your wisdom, and

awake your senses, that you may the better judge.

If there be any in this assembly, any dear friend of

Caesar's, to him I say that Brutus' love to Caesar

was no less than his. If then that friend demand

why Brutus rose against Caesar, this is my answer:

Not that I loved Caesar less, but that I loved

Rome more. Had you rather Caesar were living and

die all slaves, than that Caesar were dead to live

all free men? As Caesar loved me, I weep for him;

as he was fortunate, I rejoice at it; as he was

valiant, I honor him; but as he was ambitious, I

slew him. There is tears for his love, joy for his

fortune, honor for his valor, and death for his

ambition. Who is here so base that would be a

bondman? If any, speak, for him have I offended.

Who is here so rude that would not be a Roman? If

any, speak, for him have I offended. Who is here so

vile that will not love his country? If any, speak,

for him have I offended. I pause for a reply.

What is Brutus' purpose in the underlined sentence?

Adapted from As You Like It by William Shakespeare (1623)

\[This is a monologue by the character Jacques\]

All the world's a stage,

And all the men and women merely players;

They have their exits and their entrances;

And one man in his time plays many parts,

His acts being seven ages. At first the infant,

Mewling and puking in the nurse's arms;

Then the whining school-boy, with his satchel

And shining morning face, creeping like a snail

Unwillingly to school. And then the lover,

Sighing like a furnace, with a woeful ballad

Made to his mistress' eyebrow. Then a soldier,

Full of strange oaths and bearded like the pard,

Jealous in honour, sudden and quick in quarrel,

Seeking the bubble reputation

Even in the cannon's mouth. And then the justice,

In fair round belly with good capon lin'd,

With eyes severe and beard of formal cut,

Full of wise saws and modern instances;

And so he plays his part. The sixth age shifts

Into the lean and slipper'd pantaloon,

With spectacles on nose and pouch on side,

His youthful hose, well sav'd, a world too wide

For his shrunk shank; and his big manly voice,

Turning again toward childish treble, pipes

And whistles in his sound. Last scene of all,

That ends this strange eventful history,

Is second childishness and mere oblivion;

Sans teeth, sans eyes, sans taste, sans every thing.

What is meant by the end of the "strange eventful history" mentioned in the passage?

On the 24th of February, 1815, the look-out at Notre-Dame de la Garde signalled the three-master, the Pharaon from Smyrna, Trieste, and Naples.

As usual, a pilot put off immediately, and rounding the Chateau d'If, got on board the vessel between Cape Morgion and Rion island.

Immediately, and according to custom, the ramparts of Fort Saint-Jean were covered with spectators; it is always an event at Marseilles for a ship to come into port, especially when this ship, like the Pharaon, has been built, rigged, and laden at the old Phocee docks, and belongs to an owner of the city.

The ship drew on and had safely passed the strait, which some volcanic shock has made between the Calasareigne and Jaros islands; had doubled Pomegue, and approached the harbor under topsails, jib, and spanker, but so slowly and sedately that the idlers, with that instinct which is the forerunner of evil, asked one another what misfortune could have happened on board. However, those experienced in navigation saw plainly that if any accident had occurred, it was not to the vessel herself, for she bore down with all the evidence of being skilfully handled, the anchor a-cockbill, the jib-boom guys already eased off, and standing by the side of the pilot, who was steering the Pharaon towards the narrow entrance of the inner port, was a young man, who, with activity and vigilant eye, watched every motion of the ship, and repeated each direction of the pilot.

The vague disquietude which prevailed among the spectators had so much affected one of the crowd that he did not await the arrival of the vessel in harbor, but jumping into a small skiff, desired to be pulled alongside the Pharaon, which he reached as she rounded into La Reserve basin.

When the young man on board saw this person approach, he left his station by the pilot, and, hat in hand, leaned over the ship's bulwarks.

He was a fine, tall, slim young fellow of eighteen or twenty, with black eyes, and hair as dark as a raven's wing; and his whole appearance bespoke that calmness and resolution peculiar to men accustomed from their cradle to contend with danger.

"Ah, is it you, Dantes?" cried the man in the skiff. "What's the matter? and why have you such an air of sadness aboard?"

"A great misfortune, M. Morrel," replied the young man,—"a great misfortune, for me especially! Off Civita Vecchia we lost our brave Captain Leclere."

Passage adapted from Alexandre Dumas' The Count of Monte Cristo (1844)

What is the “Pharaon”?

On the 24th of February, 1815, the look-out at Notre-Dame de la Garde signalled the three-master, the Pharaon from Smyrna, Trieste, and Naples.

As usual, a pilot put off immediately, and rounding the Chateau d'If, got on board the vessel between Cape Morgion and Rion island.

Immediately, and according to custom, the ramparts of Fort Saint-Jean were covered with spectators; it is always an event at Marseilles for a ship to come into port, especially when this ship, like the Pharaon, has been built, rigged, and laden at the old Phocee docks, and belongs to an owner of the city.

The ship drew on and had safely passed the strait, which some volcanic shock has made between the Calasareigne and Jaros islands; had doubled Pomegue, and approached the harbor under topsails, jib, and spanker, but so slowly and sedately that the idlers, with that instinct which is the forerunner of evil, asked one another what misfortune could have happened on board. However, those experienced in navigation saw plainly that if any accident had occurred, it was not to the vessel herself, for she bore down with all the evidence of being skilfully handled, the anchor a-cockbill, the jib-boom guys already eased off, and standing by the side of the pilot, who was steering the Pharaon towards the narrow entrance of the inner port, was a young man, who, with activity and vigilant eye, watched every motion of the ship, and repeated each direction of the pilot.

The vague disquietude which prevailed among the spectators had so much affected one of the crowd that he did not await the arrival of the vessel in harbor, but jumping into a small skiff, desired to be pulled alongside the Pharaon, which he reached as she rounded into La Reserve basin.

When the young man on board saw this person approach, he left his station by the pilot, and, hat in hand, leaned over the ship's bulwarks.

He was a fine, tall, slim young fellow of eighteen or twenty, with black eyes, and hair as dark as a raven's wing; and his whole appearance bespoke that calmness and resolution peculiar to men accustomed from their cradle to contend with danger.

"Ah, is it you, Dantes?" cried the man in the skiff. "What's the matter? and why have you such an air of sadness aboard?"

"A great misfortune, M. Morrel," replied the young man,—"a great misfortune, for me especially! Off Civita Vecchia we lost our brave Captain Leclere."

Passage adapted from Alexandre Dumas' The Count of Monte Cristo (1844)

What color is the young man’s hair?

"God forgive me," said the young man, "for rejoicing at happiness derived from the misery of others, but, Heaven knows, I did not seek this good fortune; it has happened, and I really cannot pretend to lament it. The good Captain Leclere is dead, father, and it is probable that, with the aid of M. Morrel, I shall have his place. Do you understand, father? Only imagine me a captain at twenty, with a hundred louis pay, and a share in the profits! Is this not more than a poor sailor like me could have hoped for?"

"Yes, my dear boy," replied the old man, "it is very fortunate."

"Well, then, with the first money I touch, I mean you to have a small house, with a garden in which to plant clematis, nasturtiums, and honeysuckle. But what ails you, father? Are you not well?"

"'Tis nothing, nothing; it will soon pass away"—and as he said so the old man's strength failed him, and he fell backwards.

"Come, come," said the young man, "a glass of wine, father, will revive you. Where do you keep your wine?"

"No, no; thanks. You need not look for it; I do not want it," said the old man.

"Yes, yes, father, tell me where it is," and he opened two or three cupboards.

"It is no use," said the old man, "there is no wine."

"What, no wine?" said Dantes, turning pale, and looking alternately at the hollow cheeks of the old man and the empty cupboards. "What, no wine? Have you wanted money, father?"

"I want nothing now that I have you," said the old man.

"Yet," stammered Dantes, wiping the perspiration from his brow,—"yet I gave you two hundred francs when I left, three months ago."

"Yes, yes, Edmond, that is true, but you forgot at that time a little debt to our neighbor, Caderousse. He reminded me of it, telling me if I did not pay for you, he would be paid by M. Morrel; and so, you see, lest he might do you an injury"—

"Well?"

"Why, I paid him."

"But," cried Dantes, "it was a hundred and forty francs I owed Caderousse."

"Yes," stammered the old man.

"And you paid him out of the two hundred francs I left you?"

The old man nodded.

"So that you have lived for three months on sixty francs," muttered Edmond.

"You know how little I require," said the old man.

"Heaven pardon me," cried Edmond, falling on his knees before his father.

"What are you doing?"

"You have wounded me to the heart."

"Never mind it, for I see you once more," said the old man; "and now it's all over—everything is all right again."

What does Dantes mean by the underlined phrase?

"God forgive me," said the young man, "for rejoicing at happiness derived from the misery of others, but, Heaven knows, I did not seek this good fortune; it has happened, and I really cannot pretend to lament it. The good Captain Leclere is dead, father, and it is probable that, with the aid of M. Morrel, I shall have his place. Do you understand, father? Only imagine me a captain at twenty, with a hundred louis pay, and a share in the profits! Is this not more than a poor sailor like me could have hoped for?"

"Yes, my dear boy," replied the old man, "it is very fortunate."

"Well, then, with the first money I touch, I mean you to have a small house, with a garden in which to plant clematis, nasturtiums, and honeysuckle. But what ails you, father? Are you not well?"

"'Tis nothing, nothing; it will soon pass away"—and as he said so the old man's strength failed him, and he fell backwards.

"Come, come," said the young man, "a glass of wine, father, will revive you. Where do you keep your wine?"

"No, no; thanks. You need not look for it; I do not want it," said the old man.

"Yes, yes, father, tell me where it is," and he opened two or three cupboards.

"It is no use," said the old man, "there is no wine."

"What, no wine?" said Dantes, turning pale, and looking alternately at the hollow cheeks of the old man and the empty cupboards. "What, no wine? Have you wanted money, father?"

"I want nothing now that I have you," said the old man.

"Yet," stammered Dantes, wiping the perspiration from his brow,—"yet I gave you two hundred francs when I left, three months ago."

"Yes, yes, Edmond, that is true, but you forgot at that time a little debt to our neighbor, Caderousse. He reminded me of it, telling me if I did not pay for you, he would be paid by M. Morrel; and so, you see, lest he might do you an injury"—

"Well?"

"Why, I paid him."

"But," cried Dantes, "it was a hundred and forty francs I owed Caderousse."

"Yes," stammered the old man.

"And you paid him out of the two hundred francs I left you?"

The old man nodded.

"So that you have lived for three months on sixty francs," muttered Edmond.

"You know how little I require," said the old man.

"Heaven pardon me," cried Edmond, falling on his knees before his father.

"What are you doing?"

"You have wounded me to the heart."

"Never mind it, for I see you once more," said the old man; "and now it's all over—everything is all right again."

If Dantes’ father refused to repay Caderousse (the next door neighbor), what was Caderousse going to do?

What dire offence from amorous causes springs,

What mighty contests rise from trivial things,

I sing — This verse to Caryl, Muse! is due:

This, even Belinda may vouchsafe to view:

Slight is the subject, but not so the praise, (5)

If She inspire, and He approve my lays.

… Sol thro’ white curtains shot a tim’rous ray,

And oped those eyes that must eclipse the day.

Now lapdogs give themselves the rousing shake,

And sleepless lovers just at twelve awake:(10)

Thrice rung the bell, the slipper knock’d the ground,

And the press’d watch return’d a silver sound.

Belinda still her downy pillow prest,

Her guardian Sylph prolong’d the balmy rest.

When the poet says “those eyes that must eclipse the day” (line 8), what idea is he trying to convey?

What dire offence from amorous causes springs,

What mighty contests rise from trivial things,

I sing — This verse to Caryl, Muse! is due:

This, even Belinda may vouchsafe to view:

Slight is the subject, but not so the praise, (5)

If She inspire, and He approve my lays.

… Sol thro’ white curtains shot a tim’rous ray,

And oped those eyes that must eclipse the day.

Now lapdogs give themselves the rousing shake,

And sleepless lovers just at twelve awake:(10)

Thrice rung the bell, the slipper knock’d the ground,

And the press’d watch return’d a silver sound.

Belinda still her downy pillow prest,

Her guardian Sylph prolong’d the balmy rest.

In lines 13-14, with what is Belinda occupied?

1 I am a rather elderly man. 2 The nature of my avocations for the last thirty years has brought me into more than ordinary contact with what would seem an interesting and somewhat singular set of men, of whom as yet nothing that I know of has ever been written:—I mean the law-copyists or scriveners. 3 I have known very many of them, professionally and privately, and if I pleased, could relate divers histories, at which good-natured gentlemen might smile, and sentimental souls might weep.

4 … I am a man who, from his youth upwards, has been filled with a profound conviction that the easiest way of life is the best. 5 Hence, though I belong to a profession proverbially energetic and nervous, even to turbulence, at times, yet nothing of that sort have I ever suffered to invade my peace. 6 I am one of those unambitious lawyers who never addresses a jury, or in any way draws down public applause; but in the cool tranquility of a snug retreat, do a snug business among rich men's bonds and mortgages and title-deeds. 7 All who know me, consider me an eminently safe man. 8 The late John Jacob Astor, a personage little given to poetic enthusiasm, had no hesitation in pronouncing my first grand point to be prudence; my next, method. 9 I do not speak it in vanity, but simply record the fact, that I was not unemployed in my profession by the late John Jacob Astor; a name which, I admit, I love to repeat, for it hath a rounded and orbicular sound to it, and rings like unto bullion. 10 I will freely add, that I was not insensible to the late John Jacob Astor's good opinion.

11 Some time prior to the period at which this little history begins, my avocations had been largely increased. 12 The good old office, now extinct in the State of New York, of a Master in Chancery, had been conferred upon me. It was not a very arduous office, but very pleasantly remunerative.

In Sentence 8, why does the speaker note that John Jacob Astor was “a personage little given to poetic enthusiasm”?