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Adapted from "The Eulogy of the Dog" by George Graham Vest (1870)
The best friend a man has in this world may turn against him and become his enemy. His son or daughter whom he has reared with loving care may prove ungrateful. Those who are nearest and dearest to us, those whom we trust with our happiness and our good name, may become traitors to their faith. The money that a man has, he may lose. It flies away from him, perhaps when he needs it the most. A man’s reputation may be sacrificed in a moment of ill-considered action. The people who are prone to fall on their knees to do us honor when success is with us may be the first to throw the stone of malice when failure settles its cloud upon our heads. The one absolutely unselfish friend that a man can have in this selfish world, the one that never deserts him and the one that never proves ungrateful or treacherous is his dog.
Gentlemen of the jury, a man’s dog stands by him in prosperity and in poverty, in health and in sickness. He will sleep on the cold ground, where the wintry winds blow and the snow drives fiercely, if only he can be near his master’s side. He will kiss the hand that has no food to offer, he will lick the wounds and sores that come in encounter with the roughness of the world. He guards the sleep of his pauper master as if he were a prince.
When all other friends desert, he remains. When riches take wings and reputation falls to pieces, he is as constant in his love as the sun in its journey through the heavens. If fortune drives the master forth an outcast into the world, friendless and homeless, the faithful dog asks no higher privilege than that of accompanying him, to guard him against danger, to fight against his enemies. And when the last scene of all comes, and death takes his master in its embrace and his body is laid in the cold ground, no matter if all other friends pursue their way, there by his graveside will the noble dog be found, his head between his paws, his eyes sad but open, in alert watchfulness, faithful and true, even unto death.
The author’s attitude toward dogs could best be described as __________.
As you know, the author spends the first paragraph disparaging the foibles of man in contrast with the virtues of dogs, so it can be inferred that the author’s attitude toward dogs must be positive. Only "reverential" (respectful) and "conditionally affectionate" are positive answer choices. The author makes no indication that his affection is conditional upon anything; therefore, the best description of the author’s attitude is "reverential." This conclusion is best confirmed in the final paragraph, where the author describes the “noble” dog.
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Adapted from the Advertisement to Lyrical Ballads by William Wordsworth (1798)
It is the honorable characteristic of Poetry that its materials are to be found in every subject which can interest the human mind. The evidence of this fact is to be sought, not in the writings of Critics, but in those of Poets themselves.
The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure. Readers accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will perhaps frequently have to struggle with feelings of strangeness and awkwardness: they will look round for poetry, and will be induced to enquire by what species of courtesy these attempts can be permitted to assume that title. It is desirable that such readers, for their own sakes, should not suffer the solitary word Poetry, a word of very disputed meaning, to stand in the way of their gratification; but that, while they are perusing this book, they should ask themselves if it contains a natural delineation of human passions, human characters, and human incidents; and if the answer be favorable to the author's wishes, that they should consent to be pleased in spite of that most dreadful enemy to our pleasures, our own pre-established codes of decision.
Readers of superior judgement may disapprove of the style in which many of these pieces are executed it must be expected that many lines and phrases will not exactly suit their taste. It will perhaps appear to them, that wishing to avoid the prevalent fault of the day, the author has sometimes descended too low, and that many of his expressions are too familiar, and not of sufficient dignity. It is apprehended, that the more conversant the reader is with our elder writers, and with those in modern times who have been the most successful in painting manners and passions, the fewer complaints of this kind will he have to make.
An accurate taste in poetry, and in all the other arts, Sir Joshua Reynolds has observed, is an acquired talent, which can only be produced by severe thought, and a long continued intercourse with the best models of composition. This is mentioned not with so ridiculous a purpose as to prevent the most inexperienced reader from judging for himself; but merely to temper the rashness of decision, and to suggest that if poetry be a subject on which much time has not been bestowed, the judgement may be erroneous, and that in many cases it necessarily will be so.
Which of the following statements about the author’s attitude toward modern writers is supported by the passage?
The second paragraph tells us that “Readers \[may be\] accustomed to the gaudiness and inane phraseology of many modern writers.” This shows us that the author thinks that modern writers use "flashy," or garish, and "mindless," or vacuous, language.
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Adapted from "Mr. Wordsworth" in The Spirit of the Age: or Contemporary Portraits by William Hazlitt (1825)
Mr. Wordsworth’s genius is a pure emanation of the Spirit of the Age. Had he lived in any other period of the world, he would never have been heard of. As it is, he has some difficulty to contend with the lethargy of his intellect, and the meanness of his subject. With him “lowliness is young ambition’s ladder;” but he finds it a toil to climb in this way the steep of Fame. His homely Muse can hardly raise her wing from the ground, nor spread her hidden glories to the sun. He has “no figures nor no fantasies, which busy passion draws in the brains of men:” neither the gorgeous machinery of mythological lore, nor the splendid colors of poetic diction. His style is vernacular: he delivers household truths. He sees nothing loftier than human hopes; nothing deeper than the human heart. This he probes, this he tampers with, this he poises, with all its incalculable weight of thought and feeling, in his hands, and at the same time calms the throbbing pulses of his own heart, by keeping his eye ever fixed on the face of nature. If he can make the life-blood flow from the wounded breast, this is the living coloring with which he paints his verse: if he can assuage the pain or close up the wound with the balm of solitary musing, or the healing power of plants and herbs and “skyey influences,” this is the sole triumph of his art. He takes the simplest elements of nature and of the human mind, the mere abstract conditions inseparable from our being, and tries to compound a new system of poetry from them; and has perhaps succeeded as well as anyone could. “Nihil humani a me alienum puto” (I consider nothing that is human alien to me)—is the motto of his works. He thinks nothing low or indifferent of which this can be affirmed: everything that professes to be more than this, that is not an absolute essence of truth and feeling, he holds to be vitiated, false, and spurious. In a word, his poetry is founded on setting up an opposition (and pushing it to the utmost length) between the natural and the artificial: between the spirit of humanity, and the spirit of fashion and of the world!
It is one of the innovations of the time. It partakes of, and is carried along with, the revolutionary movement of our age: the political changes of the day were the model on which he formed and conducted his poetical experiments. His Muse (it cannot be denied, and without this we cannot explain its character at all) is a leveling one. It proceeds on a principle of equality, and strives to reduce all things to the same standard. It is distinguished by a proud humility. It relies upon its own resources, and disdains external show and relief. It takes the commonest events and objects, as a test to prove that nature is always interesting from its inherent truth and beauty, without any of the ornaments of dress or pomp of circumstances to set it off. Hence the unaccountable mixture of seeming simplicity and real abstruseness in the Lyrical Ballads. Fools have laughed at, and wise men scarcely understand, them. He takes a subject or a story merely as pegs or loops to hang thought and feeling on; the incidents are trifling, in proportion to his contempt for imposing appearances; the reflections are profound, according to the gravity and aspiring pretensions of his mind.
The point of view from which this passage is written could best be described as that of __________.
The writer is discussing the works of Wordsworth. The numerous references to his works of poetry and the constant weighing of pros and cons of the work produced by Wordsworth would suggest the writer is a literary critic. The answer of an enthusiast is not fully fulfilled as the writer criticizes as well as praises Wordsworth's poetry. We cannot say the writer is a biographer, as there is not much discussion of events in Wordsworth's life apart from his works.
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Adapted from "Mr. Wordsworth" in The Spirit of the Age: or Contemporary Portraits by William Hazlitt (1825)
Mr. Wordsworth’s genius is a pure emanation of the Spirit of the Age. Had he lived in any other period of the world, he would never have been heard of. As it is, he has some difficulty to contend with the lethargy of his intellect, and the meanness of his subject. With him “lowliness is young ambition’s ladder;” but he finds it a toil to climb in this way the steep of Fame. His homely Muse can hardly raise her wing from the ground, nor spread her hidden glories to the sun. He has “no figures nor no fantasies, which busy passion draws in the brains of men:” neither the gorgeous machinery of mythological lore, nor the splendid colors of poetic diction. His style is vernacular: he delivers household truths. He sees nothing loftier than human hopes; nothing deeper than the human heart. This he probes, this he tampers with, this he poises, with all its incalculable weight of thought and feeling, in his hands, and at the same time calms the throbbing pulses of his own heart, by keeping his eye ever fixed on the face of nature. If he can make the life-blood flow from the wounded breast, this is the living coloring with which he paints his verse: if he can assuage the pain or close up the wound with the balm of solitary musing, or the healing power of plants and herbs and “skyey influences,” this is the sole triumph of his art. He takes the simplest elements of nature and of the human mind, the mere abstract conditions inseparable from our being, and tries to compound a new system of poetry from them; and has perhaps succeeded as well as anyone could. “Nihil humani a me alienum puto” (I consider nothing that is human alien to me)—is the motto of his works. He thinks nothing low or indifferent of which this can be affirmed: everything that professes to be more than this, that is not an absolute essence of truth and feeling, he holds to be vitiated, false, and spurious. In a word, his poetry is founded on setting up an opposition (and pushing it to the utmost length) between the natural and the artificial: between the spirit of humanity, and the spirit of fashion and of the world!
It is one of the innovations of the time. It partakes of, and is carried along with, the revolutionary movement of our age: the political changes of the day were the model on which he formed and conducted his poetical experiments. His Muse (it cannot be denied, and without this we cannot explain its character at all) is a leveling one. It proceeds on a principle of equality, and strives to reduce all things to the same standard. It is distinguished by a proud humility. It relies upon its own resources, and disdains external show and relief. It takes the commonest events and objects, as a test to prove that nature is always interesting from its inherent truth and beauty, without any of the ornaments of dress or pomp of circumstances to set it off. Hence the unaccountable mixture of seeming simplicity and real abstruseness in the Lyrical Ballads. Fools have laughed at, and wise men scarcely understand, them. He takes a subject or a story merely as pegs or loops to hang thought and feeling on; the incidents are trifling, in proportion to his contempt for imposing appearances; the reflections are profound, according to the gravity and aspiring pretensions of his mind.
Which of the following statements about the author’s attitude toward Wordsworth is supported by the first five lines of the passage?
We know that the critic thinks Wordsworth's work is a product of the age in which it was written. The second sentence, “Had he lived in any other period of the world, he would never have been heard of,” tells us that the critic thinks that at any other time he would not be “heard of,” or famous.
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Adapted from An Enquiry Concerning Human Understanding by David Hume (1748)
Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses; but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner, that we could almost say we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity, as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.
We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger, is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror, and copies its objects truly; but the colors which it employs are faint and dull, in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.
Here therefore we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "Thoughts" or "Ideas." The other species want a name in our language, and in most others; I suppose, because it was not requisite for any, but philosophical purposes, to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "Impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.
The point of view from which the passage is told can best be described as that __________.
While the text is largely concerned with psychological functions, there is not enough scientific insight to make it a text about psychology. The author generalizes and does not discuss specific cases. The text is instead largely philosophical, as it is attempting to deal with problems of reality, existence, and knowledge.
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Adapted from "Mr. Coleridge" from The Spirit of the Age by William Hazlitt (1825)
The present is an age of talkers, and not of doers, and the reason is, that the world is growing old. We are so far advanced in the Arts and Sciences, that we live in retrospect, and dote on past achievements. The accumulation of knowledge has been so great that we are lost in wonder at the height it has reached, instead of attempting to climb or add to it, while the variety of objects distracts and dazzles the looker-on. What niche remains unoccupied? What path untried? What is the use of doing anything, unless we could do better than all those who have gone before us? What hope is there of this? We are like those who have been to see some noble monument of art, who are content to admire without thinking of rivaling it; or like guests after a feast, who praise the hospitality of the donor "and thank the bounteous Pan"—perhaps carrying away some trifling fragments; or like the spectators of a mighty battle, who still hear its sound afar off, and the clashing of armor and the neighing of the war-horse and the shout of victory is in their ears, like the rushing of innumerable waters!
Mr. Coleridge has "a mind reflecting ages past”; his voice is like the echo of the congregated roar of the "dark rearward and abyss" of thought. He who has seen a mouldering tower by the side of a crystal lake, hid by the mist, but glittering in the wave below, may conceive the dim, gleaming, uncertain intelligence of his eye; he who has marked the evening clouds up rolled (a world of vapors), has seen the picture of his mind: unearthly, unsubstantial, with gorgeous tints and ever-varying forms.
Our author's mind is (as he himself might express it) tangential. There is no subject on which he has not touched, none on which he has rested. With an understanding fertile, subtle, expansive, "quick, forgetive, apprehensive," beyond all living precedent, few traces of it will perhaps remain. He lends himself to all impressions alike; he gives up his mind and liberty of thought to none. He is a general lover of art and science, and wedded to no one in particular. He pursues knowledge as a mistress, with outstretched hands and winged speed; but as he is about to embrace her, his Daphne turns—alas! not to a laurel! Hardly a speculation has been left on record from the earliest time, but it is loosely folded up in Mr. Coleridge's memory, like a rich, but somewhat tattered piece of tapestry; we might add (with more seeming than real extravagance), that scarce a thought can pass through the mind of man, but its sound has at some time or other passed over his head with rustling pinions. On whatever question or author you speak, he is prepared to take up the theme with advantage—from Peter Abelard down to Thomas Moore, from the subtlest metaphysics to the politics of the Courier. There is no man of genius, in whose praise he descants, but the critic seems to stand above the author, and "what in him is weak, to strengthen, what is low, to raise and support”; nor is there any work of genius that does not come out of his hands like an Illuminated Missal, sparkling even in its defects. If Mr. Coleridge had not been the most impressive talker of his age, he would probably have been the finest writer; but he lays down his pen to make sure of an auditor, and mortgages the admiration of posterity for the stare of an idler. If he had not been a poet, he would have been a powerful logician; if he had not dipped his wing in the Unitarian controversy, he might have soared to the very summit of fancy. But in writing verse, he is trying to subject the Muse to transcendental theories: in his abstract reasoning, he misses his way by strewing it with flowers. All that he has done of moment, he had done twenty years ago: since then, he may be said to have lived on the sound of his own voice. Mr. Coleridge is too rich in intellectual wealth to need to task himself to any drudgery: he has only to draw the sliders of his imagination, and a thousand subjects expand before him, startling him with their brilliancy, or losing themselves in endless obscurity.
The point of view from which the passage is told can best be described as that of __________.
We can tell that the writer is writing about Coleridge at the same time that Coleridge is writing from phrases like “The present is an age of talkers, and not of doers,” and the fact that the author uses the present tense to talk about him. The author is obviously a critic, but as a “peer,” or fellow writer, we can call him a “contemporary,” even though the author's writing is critical and Coleridge's is poetic.
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Adapted from "Mr. Coleridge" from The Spirit of the Age by William Hazlitt (1825)
The present is an age of talkers, and not of doers, and the reason is, that the world is growing old. We are so far advanced in the Arts and Sciences, that we live in retrospect, and dote on past achievements. The accumulation of knowledge has been so great that we are lost in wonder at the height it has reached, instead of attempting to climb or add to it, while the variety of objects distracts and dazzles the looker-on. What niche remains unoccupied? What path untried? What is the use of doing anything, unless we could do better than all those who have gone before us? What hope is there of this? We are like those who have been to see some noble monument of art, who are content to admire without thinking of rivaling it; or like guests after a feast, who praise the hospitality of the donor "and thank the bounteous Pan"—perhaps carrying away some trifling fragments; or like the spectators of a mighty battle, who still hear its sound afar off, and the clashing of armor and the neighing of the war-horse and the shout of victory is in their ears, like the rushing of innumerable waters!
Mr. Coleridge has "a mind reflecting ages past”; his voice is like the echo of the congregated roar of the "dark rearward and abyss" of thought. He who has seen a mouldering tower by the side of a crystal lake, hid by the mist, but glittering in the wave below, may conceive the dim, gleaming, uncertain intelligence of his eye; he who has marked the evening clouds up rolled (a world of vapors), has seen the picture of his mind: unearthly, unsubstantial, with gorgeous tints and ever-varying forms.
Our author's mind is (as he himself might express it) tangential. There is no subject on which he has not touched, none on which he has rested. With an understanding fertile, subtle, expansive, "quick, forgetive, apprehensive," beyond all living precedent, few traces of it will perhaps remain. He lends himself to all impressions alike; he gives up his mind and liberty of thought to none. He is a general lover of art and science, and wedded to no one in particular. He pursues knowledge as a mistress, with outstretched hands and winged speed; but as he is about to embrace her, his Daphne turns—alas! not to a laurel! Hardly a speculation has been left on record from the earliest time, but it is loosely folded up in Mr. Coleridge's memory, like a rich, but somewhat tattered piece of tapestry; we might add (with more seeming than real extravagance), that scarce a thought can pass through the mind of man, but its sound has at some time or other passed over his head with rustling pinions. On whatever question or author you speak, he is prepared to take up the theme with advantage—from Peter Abelard down to Thomas Moore, from the subtlest metaphysics to the politics of the Courier. There is no man of genius, in whose praise he descants, but the critic seems to stand above the author, and "what in him is weak, to strengthen, what is low, to raise and support”; nor is there any work of genius that does not come out of his hands like an Illuminated Missal, sparkling even in its defects. If Mr. Coleridge had not been the most impressive talker of his age, he would probably have been the finest writer; but he lays down his pen to make sure of an auditor, and mortgages the admiration of posterity for the stare of an idler. If he had not been a poet, he would have been a powerful logician; if he had not dipped his wing in the Unitarian controversy, he might have soared to the very summit of fancy. But in writing verse, he is trying to subject the Muse to transcendental theories: in his abstract reasoning, he misses his way by strewing it with flowers. All that he has done of moment, he had done twenty years ago: since then, he may be said to have lived on the sound of his own voice. Mr. Coleridge is too rich in intellectual wealth to need to task himself to any drudgery: he has only to draw the sliders of his imagination, and a thousand subjects expand before him, startling him with their brilliancy, or losing themselves in endless obscurity.
Which of the following statements about the author’s attitude toward Coleridge's present fame is supported by the passage?
Looking at the end of the third paragraph, the answer becomes obvious. The line “All that he has done of moment, he had done twenty years ago: since then, he may be said to have lived on the sound of his own voice” tells us that Coleridge is only really famous for his past endeavors, as he is merely repeating the same work now. As the critic says, “he may be said to have lived on the sound of his own voice,” meaning that the same sound has sustained his fame for a long period of time.
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Adapted from Nature; Addresses and Lectures by Ralph Waldo Emerson (1849)
The first in time and the first in importance of the influences upon the mind is that of nature. Every day, the sun; and after sunset, night and her stars. Ever the winds blow; ever the grass grows. Every day men and women conversing, beholding and beholden. The scholar is he of all men whom this spectacle most engages. He must settle its value in his mind. What is nature to him? There is never a beginning, there is never an end to the inexplicable continuity of this web of God, but always circular power returning into itself. Therein it resembles his own spirit, whose beginning, whose ending, he never can find—so entire, so boundless. Far, too, as her splendors shine, system on system shooting like rays, upward, downward, without center, without circumference—in the mass and in the particle, nature hastens to render account of herself to the mind. Classification begins. To the young mind everything is individual, stands by itself. By and by it finds how to join two things and see in them one nature, then three, then three thousand; and so, tyrannized over by its own unifying instinct, it goes on tying things together, diminishing anomalies, discovering roots running under ground, whereby contrary and remote things cohere and flower out from one stem. It presently learns that since the dawn of history there has been a constant accumulation and classifying of facts. But what is classification but the perceiving that these objects are not chaotic and are not foreign, but have a law which is also a law of the human mind?
When Emerson describes nature, his tone can best be described as which of the following?
Emerson mainly touches upon the beauty of nature and its transcendental, spiritual qualities. Thus, Emerson is mainly "admiring" nature. Although he is serious in his approach, he still maintains a connection with nature and a deep regard for nature.
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Adapted from “Introduced Species That Have Become Pests” in Our Vanishing Wild Life, Its Extermination and Protection by William Temple Hornaday (1913)
The man who successfully transplants or "introduces" into a new habitat any persistent species of living thing assumes a very grave responsibility. Every introduced species is doubtful gravel until panned out. The enormous losses that have been inflicted upon the world through the perpetuation of follies with wild vertebrates and insects would, if added together, be enough to purchase a principality. The most aggravating feature of these follies in transplantation is that never yet have they been made severely punishable. We are just as careless and easygoing on this point as we were about the government of the Yellowstone Park in the days when Howell and other poachers destroyed our first national bison herd, and when caught red-handed—as Howell was, skinning seven Park bison cows—could not be punished for it, because there was no penalty prescribed by any law. Today, there is a way in which any revengeful person could inflict enormous damage on the entire South, at no cost to himself, involve those states in enormous losses and the expenditure of vast sums of money, yet go absolutely unpunished!
The gypsy moth is a case in point. This winged calamity was imported at Maiden, Massachusetts, near Boston, by a French entomologist, Mr. Leopold Trouvelot, in 1868 or 69. History records the fact that the man of science did not purposely set free the pest. He was endeavoring with live specimens to find a moth that would produce a cocoon of commercial value to America, and a sudden gust of wind blew out of his study, through an open window, his living and breeding specimens of the gypsy moth. The moth itself is not bad to look at, but its larvae is a great, overgrown brute with an appetite like a hog. Immediately Mr. Trouvelot sought to recover his specimens, and when he failed to find them all, like a man of real honor, he notified the State authorities of the accident. Every effort was made to recover all the specimens, but enough escaped to produce progeny that soon became a scourge to the trees of Massachusetts. The method of the big, nasty-looking mottled-brown caterpillar was very simple. It devoured the entire foliage of every tree that grew in its sphere of influence.
The gypsy moth spread with alarming rapidity and persistence. In course of time, the state authorities of Massachusetts were forced to begin a relentless war upon it, by poisonous sprays and by fire. It was awful! Up to this date (1912) the New England states and the United States Government service have expended in fighting this pest about $7,680,000!
The spread of this pest has been retarded, but the gypsy moth never will be wholly stamped out. Today it exists in Rhode Island, Connecticut, and New Hampshire, and it is due to reach New York at an early date. It is steadily spreading in three directions from Boston, its original point of departure, and when it strikes the State of New York, we, too, will begin to pay dearly for the Trouvelot experiment.
How does the author feel about Howell?
Let’s look at the part of the first paragraph in which the author brings up Howell, paying attention to why he does so:
“The most aggravating feature of these follies in transplantation is that never yet have they been made severely punishable. We are just as careless and easygoing on this point as we were about the government of the Yellowstone Park in the days when Howell and other poachers destroyed our first national bison herd, and when caught red-handed—as Howell was, skinning seven Park bison cows—could not be punished for it, because there was no penalty prescribed by any law.”
In mentioning Howell, the author is providing an example supporting his argument that harsher legal penalties are necessary for those who harm the environment. The author describes Howell as a “poacher” who “destroyed our first national bison herd” and was “caught red-handed.” From this, we can tell that the best answer choice is “the author greatly dislikes Howell for his audacious disrespect for nature.”
One of the other answer choices attempts to get you to confuse Howell with Mr. Trouvelot, who released the gypsy moths—don’t fall for that! Check the passage if you are worried at all about confusing the two so you can avoid pitfall answers like that one.
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Adapted from The Gettysburg Address by Abraham Lincoln (1863)
Four score and seven years ago our fathers brought forth, upon this continent, a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal.
Now we are engaged in a great civil war, testing whether that nation or any nation so conceived and so dedicated, can long endure. We are met on a great battlefield of that war. We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this.
But, in a larger sense, we cannot dedicate, we cannot consecrate, we cannot hallow, this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us--that from these honored dead we take increased devotion to that cause for which they here gave the last full measure of devotion--that we here highly resolve that these dead shall not have died in vain, that this nation, under God, shall have a new birth of freedom, and that government of the people, by the people, for the people, shall not perish from the earth.
“It is altogether fitting and proper that we should do this” most nearly reflects the author's __________.
The author of this passage states that “We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this.” These two sentences most neatly summarize the author’s point of view. There is no frustration, confidence or ambivalence (uncertainty) introduced. Indeed these two sentences are almost without tone. The use of the words “fitting” (appropriate) and “should” help to clue you in that the author is describing related to his opinion or point of view.
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Adapted from Emma by Jane Austen (1815)
Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.
She was the youngest of the two daughters of a most affectionate, indulgent father; and had, in consequence of her sister's marriage, been mistress of his house from a very early period. Her mother had died too long ago for her to have more than an indistinct remembrance of her caresses; and her place had been supplied by an excellent woman as governess, who had fallen little short of a mother in affection.
Sixteen years had Miss Taylor been in Mr. Woodhouse's family, less as a governess than a friend, very fond of both daughters, but particularly of Emma. Between them it was more the intimacy of sisters. Even before Miss Taylor had ceased to hold the nominal office of governess, the mildness of her temper had hardly allowed her to impose any restraint; and the shadow of authority being now long passed away, they had been living together as friend and friend very mutually attached, and Emma doing just what she liked; highly esteeming Miss Taylor's judgment, but directed chiefly by her own.
The real evils, indeed, of Emma's situation were the power of having rather too much her own way, and a disposition to think a little too well of herself; these were the disadvantages which threatened alloy to her many enjoyments. The danger, however, was at present so unperceived, that they did not by any means rank as misfortunes with her.
Sorrow came—a gentle sorrow—but not at all in the shape of any disagreeable consciousness. Miss Taylor married. It was Miss Taylor's loss which first brought grief. It was on the wedding-day of this beloved friend that Emma first sat in mournful thought of any continuance. The wedding over, and the bride-people gone, her father and herself were left to dine together, with no prospect of a third to cheer a long evening. Her father composed himself to sleep after dinner, as usual, and she had then only to sit and think of what she had lost.
The event had every promise of happiness for her friend. Mr. Weston was a man of unexceptionable character, easy fortune, suitable age, and pleasant manners; and there was some satisfaction in considering with what self-denying, generous friendship she had always wished and promoted the match; but it was a black morning's work for her.
How was she to bear the change?—It was true that her friend was going only half a mile from them; but Emma was aware that great must be the difference between a Mrs. Weston, only half a mile from them, and a Miss Taylor in the house; and with all her advantages, natural and domestic, she was now in great danger of suffering from intellectual solitude. She dearly loved her father, but he was no companion for her. He could not meet her in conversation, rational or playful.
Emma is most accurately described as __________.
Emma is distinctly described by the passage in two places: in the first paragraph, her introduction, and in the fourth paragraph, where her personality flaws are discussed. The first paragraph calls Emma “handsome, clever, and rich, with a comfortable home and happy disposition,” and notes that she “seemed to unite some of the best blessings of existence” and had grown up “with very little to distress or vex her.” The fourth paragraph adds, “The real evils, indeed, of Emma's situation were the power of having rather too much her own way, and .”
Given these descriptions, we can begin to narrow our answer choices. While Emma might be called “vain” because we are told that she has “a disposition to think a little too well of herself,” nothing in the passage suggests that she is “hard-working,” so “hard-working and vain” cannot be the answer. “Precocious” she might be for always doing what she wants, but we nothing in the passage supports calling her “lazy,” so “precocious and lazy” isn’t correct either. While one might perhaps call her “benevolent,” there is little evidence directly supporting this analysis, and “secretive” does not accurately describes Emma according to the passage, so “benevolent . . . secretive” can’t be the correct answer either. This leaves us with “insubordinate and haughty” and “quick-witted and willful.” “Insubordinate” is too intense a term for Emma’s slight stubborn streak; we are never told that she specifically breaks rules, just that she does what she wants. This makes “willful” the better descriptor of the two. Similarly, while we are told that she is “quick-witted” in that the passage calls her “clever,” “haughty” is too intense a term to describe “a disposition to think a little too well of herself.” The best answer choice is “quick-witted and willful.”
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Adapted from "May Day" in Tales of the Jazz Age by F. Scott Fitzgerald (1922)
At nine o'clock on the morning of the first of May, 1919, a young man spoke to the room clerk at the Biltmore Hotel, asking if Mr. Philip Dean were registered there, and if so, could he be connected with Mr. Dean's rooms. The inquirer was dressed in a well-cut, shabby suit. He was small, slender, and darkly handsome; his eyes were framed above with unusually long eyelashes and below with the blue semicircle of ill health, this latter effect heightened by an unnatural glow which colored his face like a low, incessant fever.
Mr. Dean was staying there. The young man was directed to a telephone at the side.
After a second his connection was made; a sleepy voice hello'd from somewhere above.
"Mr. Dean?"—this very eagerly—"it's Gordon, Phil. It's Gordon Sterrett. I'm down-stairs. I heard you were in New York and I had a hunch you'd be here."
The sleepy voice became gradually enthusiastic. Well, how was Gordy, old boy! Well, he certainly was surprised and tickled! Would Gordy come right up, for Pete's sake!
A few minutes later Philip Dean, dressed in blue silk pajamas, opened his door and the two young men greeted each other with a half-embarrassed exuberance. They were both about twenty-four, Yale graduates of the year before the war; but there the resemblance stopped abruptly. Dean was blond, ruddy, and rugged under his thin pajamas. Everything about him radiated fitness and bodily comfort. He smiled frequently, showing large and prominent teeth.
"I was going to look you up," he cried enthusiastically. "I'm taking a couple of weeks off. If you'll sit down a sec I'll be right with you. Going to take a shower."
As he vanished into the bathroom his visitor's dark eyes roved nervously around the room, resting for a moment on a great English travelling bag in the corner and on a family of thick silk shirts littered on the chairs amid impressive neckties and soft woollen socks.
Gordon rose and, picking up one of the shirts, gave it a minute examination. It was of very heavy silk, yellow, with a pale blue stripe—and there were nearly a dozen of them. He stared involuntarily at his own shirt-cuffs—they were ragged and linty at the edges and soiled to a faint gray. Dropping the silk shirt, he held his coat-sleeves down and worked the frayed shirt-cuffs up till they were out of sight. Then he went to the mirror and looked at himself with listless, unhappy interest. His tie, of former glory, was faded and thumb-creased—it served no longer to hide the jagged buttonholes of his collar. He thought, quite without amusement, that only three years before he had received a scattering vote in the senior elections at college for being the best-dressed man in his class.
The point of view from which the passage is told can best be described as that of __________.
The narrative is in the third person and is a somewhat detached observer. We can tell it is not from the perspective of any of the characters as it does not use the first person pronoun “I.”
Compare your answer with the correct one above
Adapted From "Tony Kytes, The Arch-Deceiver" in Life's Little Ironies: A Set of Tales, with some colloquial sketches, entitled, A Few Crusted Characters by Thomas Hardy (1905 ed.)
I shall never forget Tony’s face. It was a little, round, firm, tight face, with a seam here and there left by the small-pox, but not enough to hurt his looks in a woman's eye, though he'd had it baddish when he was a boy. So very serious looking and unsmiling 'a was, that young man, that it really seemed as if he couldn't laugh at all without great pain to his conscience. He looked very hard at a small speck in your eye when talking to 'ee. And there was no more sign of a whisker or beard on Tony Kytes's face than on the palm of my hand. He used to sing "The Tailor's Breeches," with all its scandelous lyrics, in a religious manner, as if it were a hymn. He was quite the women's favorite.
But in course of time Tony got fixed down to one in particular, Milly Richards – a nice, light, small, tender little thing; and it was soon said that they were engaged to be married. One Saturday he had been to market to do business for his father, and was driving home the wagon in the afternoon. When he reached the foot of the hill, who should he see waiting for him at the top but Unity Sallet, a handsome girl, one of the young women he'd been very tender towards before he'd got engaged to Milly.
As soon as Tony came up to her she said, "My dear Tony, will you give me a lift home?"
"That I will, darling," said Tony. "You don't suppose I could refuse 'ee?"
She smiled a smile, and up she hopped, and on drove Tony.
"Tony," she says, in a sort of tender chide, "Why did ye desert me for that other one? In what is she better than I? I should have made 'ee a finer wife, and a more loving one, too. 'Tisn't girls that are so easily won at first that are the best. Think how long we've known each other—ever since we were children almost—now haven't we, Tony?"
"Yes, that we have," says Tony, struck with the truth o't.
"And you've never seen anything in me to complain of, have ye, Tony? Now tell the truth to me."
"I never have, upon my life," says Tony.
"And—can you say I'm not pretty, Tony? Now look at me.
He let his eyes light upon her for a long while. "I really can't," says he. "In fact, I never knowed you was so pretty before!"
The point of view from which this passage is told could best be described as that of __________.
Of the answers, the closest guess from the passage would be Tony's father. But we cannot safely say that any of these people are the narrator. We know the narration is in the third person and that the person knew Tony in some way, but we cannot say who is speaking as they do not identify themself in the passage.
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Adapted from Nicholas Nickleby by Charles Dickens (1839)
There was a great bustle in Bishopsgate Street Within, as they drew up, and (it being a windy day) half-a-dozen men were tacking across the road under a press of paper, bearing gigantic announcements that a Public Meeting would be held at one o'clock precisely, to take into consideration the propriety of petitioning Parliament in favour of the United Metropolitan Improved Hot Muffin and Crumpet Baking and Punctual Delivery Company, capital five millions, in five hundred thousand shares of ten pounds each; which sums were duly set forth in fat black figures of considerable size. Mr. Bonney elbowed his way briskly upstairs, receiving in his progress many low bows from the waiters who stood on the landings to show the way; and, followed by Mr. Nickleby, dived into a suite of apartments behind the great public room: in the second of which was a business-looking table, and several business-looking people.
"Hear!" cried a gentleman with a double chin, as Mr. Bonney presented himself. "Chair, gentlemen, chair!"
The new-comers were received with universal approbation, and Mr. Bonney bustled up to the top of the table, took off his hat, ran his fingers through his hair, and knocked a hackney-coachman's knock on the table with a little hammer: whereat several gentlemen cried "Hear!" and nodded slightly to each other, as much as to say what spirited conduct that was. Just at this moment, a waiter, feverish with agitation, tore into the room, and throwing the door open with a crash, shouted "Sir Matthew Pupker!"
The committee stood up and clapped their hands for joy, and while they were clapping them, in came Sir Matthew Pupker, attended by two live members of Parliament, one Irish and one Scotch, all smiling and bowing, and looking so pleasant that it seemed a perfect marvel how any man could have the heart to vote against them. Sir Matthew Pupker especially, who had a little round head with a flaxen wig on the top of it, fell into such a paroxysm of bows, that the wig threatened to be jerked off, every instant. When these symptoms had in some degree subsided, the gentlemen who were on speaking terms with Sir Matthew Pupker, or the two other members, crowded round them in three little groups, near one or other of which the gentlemen who were NOT on speaking terms with Sir Matthew Pupker or the two other members, stood lingering, and smiling, and rubbing their hands, in the desperate hope of something turning up which might bring them into notice. All this time, Sir Matthew Pupker and the two other members were relating to their separate circles what the intentions of government were, about taking up the bill; with a full account of what the government had said in a whisper the last time they dined with it, and how the government had been observed to wink when it said so; from which premises they were at no loss to draw the conclusion, that if the government had one object more at heart than another, that one object was the welfare and advantage of the United Metropolitan Improved Hot Muffin and Crumpet Baking and Punctual Delivery Company.
Meanwhile, and pending the arrangement of the proceedings, and a fair division of the speechifying, the public in the large room were eyeing, by turns, the empty platform, and the ladies in the Music Gallery. In these amusements the greater portion of them had been occupied for a couple of hours before, and as the most agreeable diversions pall upon the taste on a too protracted enjoyment of them, the sterner spirits now began to hammer the floor with their boot-heels, and to express their dissatisfaction by various hoots and cries. These vocal exertions, emanating from the people who had been there longest, naturally proceeded from those who were nearest to the platform and furthest from the policemen in attendance, who having no great mind to fight their way through the crowd, but entertaining nevertheless a praiseworthy desire to do something to quell the disturbance, immediately began to drag forth, by the coat tails and collars, all the quiet people near the door; at the same time dealing out various smart and tingling blows with their truncheons, after the manner of that ingenious actor, Mr. Punch: whose brilliant example, both in the fashion of his weapons and their use, this branch of the executive occasionally follows.
Several very exciting skirmishes were in progress, when a loud shout attracted the attention even of the belligerents, and then there poured on to the platform, from a door at the side, a long line of gentlemen with their hats off, all looking behind them, and uttering vociferous cheers; the cause whereof was sufficiently explained when Sir Matthew Pupker and the two other real members of Parliament came to the front, amidst deafening shouts, and testified to each other in dumb motions that they had never seen such a glorious sight as that, in the whole course of their public career.
The point of view from which the passage is told can best be described as that of __________.
The narrator is speaking in the third person and seems to be omnipresent at the meeting, describing events occurring in different places. By employing such an omniscient third person narrator, the author is able to criticize and critique each character without having to deal with how a perspectival first person narrator feels about the characters being criticized.
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Adapted from Little Women by Louisa May Alcott (1868)
"Christmas won't be Christmas without any presents," grumbled Jo, lying on the rug.
"It's so dreadful to be poor!" sighed Meg, looking down at her old dress.
"I don't think it's fair for some girls to have plenty of pretty things and other girls nothing at all," added little Amy, with an injured sniff.
"We've got Father and Mother and each other," said Beth contentedly from her corner.
The four young faces on which the firelight shone brightened at the cheerful words but darkened again as Jo said sadly, "We haven't got Father and shall not have him for a long time." She didn't say "perhaps never," but each silently added it, thinking of Father far away, where the fighting was.
Nobody spoke for a minute; then Meg said in an altered tone, "You know the reason Mother proposed not having any presents this Christmas was because it is going to be a hard winter for everyone; and she thinks we ought not to spend money for pleasure, when our men are suffering so in the army. We can't do much, but we can make our little sacrifices, and ought to do it gladly. But I am afraid I don't." And Meg shook her head as she thought regretfully of all the pretty things she wanted.
"But I don't think the little we should spend would do any good. We've each got a dollar, and the army wouldn't be much helped by our giving that. I agree not to expect anything from Mother or you, but I do want to buy Undine and Sintram for myself. I've wanted it so long," said Jo, who was a bookworm.
"I planned to spend mine in new music," said Beth, with a little sigh, which no one heard but the hearth brush and kettle holder.
"I shall get a nice box of Faber's drawing pencils. I really need them," said Amy decidedly.
Mother didn't say anything about our money and she won't wish us to give up everything. Let's each buy what we want, and have a little fun. I'm sure we work hard enough to earn it," cried Jo, examining the heels of her shoes in a gentlemanly manner.
"I know I do—teaching those tiresome children nearly all day, when I'm longing to enjoy myself at home," began Meg, in the complaining tone again.
"You don't have half such a hard time as I do," said Jo. "How would you like to be shut up for hours with a nervous, fussy old lady who keeps you trotting, is never satisfied, and worries you till you're ready to fly out of the window or cry?"
What literary device is used in the underlined excerpt?
The phrase “fly out of the window” is an exaggeration or hyperbole, since humans cannot fly and most people would not choose to exit a building through a window.
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Adapted from Moby-Dick; or, The Whale by Herman Melville (1851)
The fact is, that among his hunters at least, the whale would, by all hands, be considered a noble dish were there not so much of him; but when you come to sit down before a meat-pie nearly one hundred feet long, it takes away your appetite. Only the most unprejudiced of men, like Stubb, nowadays partake of cooked whales; but the Esquimaux are not so fastidious. We all know how they live upon whales and have rare old vintages of prime old train oil. Zogranda, one of their most famous doctors, recommends strips of blubber for infants as being exceedingly juicy and nourishing. And this reminds me that certain Englishmen, who long ago were accidentally left in Greenland by a whaling vessel—that these men actually lived for several months on the moldy scraps of whales which had been left ashore after trying out the blubber. Among the Dutch whalemen, these scraps are called “fritters,” which, indeed, they greatly resemble, being brown and crisp, and smelling something like old Amsterdam housewives’ dough-nuts or oly-cooks when fresh. They have such an eatable look that the most self-denying stranger can hardly keep his hands off.
But what further depreciates the whale as a civilized dish is his exceeding richness. He is the great prize ox of the sea, too fat to be delicately good. Look at his hump, which would be as fine eating as the buffalo’s (which is esteemed a rare dish), were it not such a solid pyramid of fat. But the spermaceti itself, how bland and creamy that is, like the transparent, half-jellied, white meat of a coconut in the third month of its growth, yet far too rich to supply a substitute for butter. Nevertheless, many whale men have a method of absorbing it into some other substance and then partaking of it. In the long try watches of the night, it is a common thing for the seamen to dip their ship-biscuit into the huge oil-pots and let them fry there awhile. Many a good supper have I thus made.
Based on the tone of the passage, how does the narrator personally feel about eating whale?
The narrator opens the passage by suggesting that whale would be "considered a noble dish were there not so much of him," suggesting that whale would be preferred by many if the food did not originate from such a large animal. The narrator also speaks of the many "good suppers" he has had by frying his biscuits in whale oil, suggesting that he enjoys eating whale.
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Adapted from A Tramp Abroad by Mark Twain (1880)
One day it occurred to me that it had been many years since the world had been afforded the spectacle of a man adventurous enough to undertake a journey through Europe on foot. After much thought, I decided that I was a person fitted to furnish to mankind this spectacle. So I determined to do it. This was in March, 1878.
I looked about me for the right sort of person to accompany me in the capacity of agent, and finally hired a Mr. Harris for this service.
It was also my purpose to study art while in Europe. Mr. Harris was in sympathy with me in this. He was as much of an enthusiast in art as I was, and not less anxious to learn to paint. I desired to learn the German language; so did Harris.
Toward the middle of April we sailed in the Holsatia, Captain Brandt, and had a very pleasant trip, indeed.
After a brief rest at Hamburg, we made preparations for a long pedestrian trip southward in the soft spring weather, but at the last moment we changed the program, for private reasons, and took the express-train.
We made a short halt at Frankfort-on-the-Main, and found it an interesting city. I would have liked to visit the birthplace of Gutenburg, but it could not be done, as no memorandum of the site of the house has been kept. So we spent an hour in the Goethe mansion instead. The city permits this house to belong to private parties, instead of gracing and dignifying herself with the honor of possessing and protecting it.
Frankfort is one of the sixteen cities which have the distinction of being the place where the following incident occurred. Charlemagne, while chasing the Saxons (as he said), or being chased by them (as they said), arrived at the bank of the river at dawn, in a fog. The enemy were either before him or behind him; but in any case he wanted to get across, very badly. He would have given anything for a guide, but none was to be had. Presently he saw a deer, followed by her young, approach the water. He watched her, judging that she would seek a ford, and he was right. She waded over, and the army followed. So a great Frankish victory or defeat was gained or avoided; and in order to commemorate the episode, Charlemagne commanded a city to be built there, which he named Frankfort—the ford of the Franks. None of the other cities where this event happened were named for it. This is good evidence that Frankfort was the first place it occurred at.
The point of view from which the passage is told can best be described as that of __________.
The passage is obviously written from the first person perspective because it makes use of the word "I," and is either autobiographical or is masquerading as being autobiographical. As it is about traveling throughout Europe and the narrator talks about visiting certain attractions, we can assume that the narrator is acting as a tourist. This is regardless of the narrator's initial statement that he intends to act as an adventurer.
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Adapted from Tom Brown's Schooldays (1857) by Thomas Hughes
The small boys rushed in again. Closing, they saw, was their best chance, and Flashman was wilder and more flurried than ever. He caught East by the throat and tried to force him back on the iron-bound table. Tom grasped his waist and, remembering the old throw he had learned in the Vale from Harry Winburn, crooked his leg inside Flashman's and threw his whole weight forward. The three tottered for a moment and then over they went on to the floor, Flashman striking his head against a form in the hall.
The two youngsters sprang to their legs, but he lay there still. They began to be frightened. Tom stooped down and then cried out, scared out of his wits, "He's bleeding awfully. Come here, East! Diggs, he's dying!"
"Not he," said Diggs, getting leisurely off the table. "It's all sham; he's only afraid to fight it out."
East was as frightened as Tom. Diggs lifted Flashman's head and he groaned.
"What's the matter?" shouted Diggs.
"My skull's fractured," sobbed Flashman.
"Oh, let me run for the housekeeper!" cried Tom. "What shall we do?"
"Fiddlesticks! It's nothing but the skin broken," said the relentless Diggs, feeling his head. "Cold water and a bit of rag's all he'll want."
"Let me go," said Flashman surlily, sitting up. "I don't want your help."
"We're really very sorry—" began East.
"Hang your sorrow!" answered Flashman, holding his handkerchief to the place. "You shall pay for this, I can tell you, both of you." And he walked out of the hall.
"He can't be very bad," said Tom, with a deep sigh, much relieved to see his enemy march so well.
"Not he," said Diggs, "and you'll see you won't be troubled with him anymore, but, I say, your head's broken too; your collar is covered with blood."
"Is it though?" said Tom, putting up his hand. "I didn't know it."
"Well, mop it up or you'll have your jacket spoilt. And you have got a nasty eye, scud. You'd better go and bathe it well in cold water."
"Cheap enough too, if we're done with our old friend Flashey," said East, as they made off upstairs to bathe their wounds.
They had done with Flashman in one sense, for he never laid finger on either of them again, but whatever harm a spiteful heart and venomous tongue could do them, he took care should be done. Only throw dirt enough and some of it is sure to stick, and so it was with the fifth form and the bigger boys in general, with whom he associated more or less, and they not at all. Flashman managed to get Tom and East into disfavor, which did not wear off for some time after the author of it had disappeared from the school world. This event, much prayed for by the small fry in general, took place a few months after the above encounter. One fine summer evening, Flashman had been regaling himself on gin punch at Brownsover and, having exceeded his usual limits, started home uproarious. He fell in with a friend or two coming back from bathing, proposed a glass of beer, to which they assented, the weather being hot and they thirsty souls, unaware of the quantity of drink which Flashman had already on board. The short result was that Flashey became beastly drunk. They tried to get him along, but couldn't, so they chartered a hurdle and two men to carry him. One of the masters came upon them and they fled, naturally enough. The flight of the rest raised the master's suspicions and the good angel of the attendants incited him to examine the freight and, after examination, to convoy the hurdle himself up to the schoolhouse. The doctor, who had long had his eye on Flashman, arranged for his withdrawal the next morning.
The point of view from which the passage is told can best be described as that of __________.
The passage is written in third-person and from the information given, it is not clear if it is a recollection of any specific person's memories. The constant use of “he” and “his” as well as the knowledge of every event in detail tells us that this is written in the third-person perspective.
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Adapted from Jude the Obscure by Thomas Hardy (1895)
He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.
"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"
They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.
His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.
"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"
The point of view from which the passage is told can best be described as that of __________.
We cannot say from the passage that the narrator is a friend of Jude's, so the only safe answer is “the third-person perspective,” as the passage is written in the third person. The easiest way to ascertain this is that there is no use of the personal pronoun “I.”
Compare your answer with the correct one above
Adapted from Once on a Time by A. A. Milne (1922)
The Princess was still puzzled. "But I'm grown up," she said. "I don't want a mother so much now."
The King turned his flagon round and studied the other side of it.
"A mother's—er—tender hand," he said, "is—er—never——" and then the outrageous thing happened.
It was all because of a birthday present to the King of Barodia, and the present was nothing less than a pair of seven-league boots. The King being a busy man, it was a week or more before he had an opportunity of trying those boots. Meanwhile he used to talk about them at meals, and he would polish them up every night before he went to bed. When the great day came for the first trial of them to be made, he took a patronizing farewell of his wife and family, ignored the many eager noses pressed against the upper windows of the Palace, and sailed off. The motion, as perhaps you know, is a little disquieting at first, but one soon gets used to it. After that it is fascinating. He had gone some two thousand miles before he realized that there might be a difficulty about finding his way back. The difficulty proved at least as great as he had anticipated. For the rest of that day he toured backwards and forwards across the country; and it was by the merest accident that a very angry King shot in through an open pantry window in the early hours of the morning. He removed his boots and went softly to bed.
It was, of course, a lesson to him. He decided that in the future he must proceed by a recognized route, sailing lightly from landmark to landmark. Such a route his Geographers prepared for him—an early morning constitutional, of three hundred miles or so, to be taken ten times before breakfast. He gave himself a week in which to recover his nerve and then started out on the first of them.
The point of view from which the passage is told can best be described as that of __________.
The passage is told by a narrator in the third person. Granted, this could be one of the characters looking back at the event, but the lack of the use of “I” or “we” suggests it can be none of the directly or indirectly involved characters mentioned in the passage. The passage also has elements of fantasy stories or fairytales to it; in fairytales, the narrative is usually written from a distanced third-person perspective. We can therefore say the correct answer is "None of these characters."
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