Category: Writing

ANALYZE THE POEM “I DO”
I Do By Eileen R. Tabios “I do not know English”—from “I Do Not” by Michael Palmer “Marunong akong mag-ingles” (I do know English) —any 21st-century Filipino poet I do know English. I do know English for I have something to say about this latest peace stirring between a crack that’s split a sidewalk traversing a dusty border melting at noon beneath an impassive sun. I do know English and, therefore, when hungry, can ask for more than minimum wage, pointing repeatedly at my mouth and yours. Such a gesture can only mean what it means: I do not want to remain hungry and I am looking at your mouth. I do know English and still will not ask permission. I shall call you “Master” with a lack of irony; lift my cotton blouse; cup my breasts to offer them to your eyes, your lips, your tongue; keen at the moon hiding at 11 a.m. to surface left tendon on my neck. For your teeth. And so on. No need to decipher your response—and if you wish, go ahead: spank me. I do know English. Therefore, I can explain this painting of a fractured grid as the persistent flux of our “selves” as time unfolds. There is a way to speak of our past or hopes for the future, the hot-air balloon woven from a rainbow’s fragments now floating over St. Helena; your glasses I nearly broke when, afterwards, you flung me to the floor as violence is extreme and we demand the extreme from each other; your three moans in a San Francisco hallway after I fell to my knees; your silence in New York as I knocked on your door. There is a way to articulate your silence—a limousine running over a child on the streets of Manila and Shanghai. And Dubai. There is a way to joke about full-haired actors running for President and the birth of a new American portrait: “Tight as a Florida election.” I do know English and so cannot comprehend why you write me no letters even as you unfailingly read mine. Those where I write of the existence of a parallel universe to create haven when your silence persists in this world I was forced to inherit. This does not mean, I cannot differentiate between a reflection and a shadow, a threnody and a hiccup, the untrimmed bougainvillea bush mimicking a fire and the lawn lit by a burning cross. I can prove Love exists by measuring increased blood flow to the brain’s anterior cingulated cortex, the middle insula, the putamen and the caudate nucleus. Nor is “putamen” a pasta unless I confirm to you that my weak eyesight misread “puttanesca” as the crimson moon began to rise, paling as it ascends for fate often exacts a price.I can see an almond eye peer behind the fracture on a screen and know it is not you from the wafting scent of crushed encomiums. I can remind you of the rose petals I mailed to you after releasing them from the padded cell between my thighs. I slipped the petals inside a cream envelope embossed in gold with the seal of a midtown Manhattan hotel whose façade resembles a seven-layered wedding cake. Which we shall share only through the happiness of others. Which does not cancel Hope. I can recite all of your poems as I memorized them through concept as well as sound. I speak of a country disappearing and the impossibility of its replacement except within the tobaccoscented clench of your embrace. I can tell you I am weary of games, though they continue. Manila’s streets are suffused with protesters clamoring for an adulterer’s impeachment. Their t-shirts are white to symbolize their demand for “purity.” Space contains all forms, which means it lack geometry. My lucid tongue has tasted the dust from monuments crumbling simply because seasons change. Because I do know English, I have been variously called Miss Slanted Vagina, The Mail Order Bride, The One With The Shoe Fetish, The Squat Brunette Who Wears A Plaid Blazer Over A Polka-Dot Blouse, The Maid. When I hear someone declare war while observing a yacht race in San Diego, I understand how “currency” becomes “debased.” They have named it The Tension Between The Popular Vote And The Electoral College. I do know English.
QUESTIONS:
What genre does the selection represent?
Whose voice did the author choose as narrator?
From what point of view/perspective is this written?
What language is used—technical, dialect, variant spellings, archaic words, etc.?
What are the style, mood, and tone?
What word choice, imagery and figures of speech (e.g. simile, metaphor, alliteration, irony, repetition, personification, etc.) does the author use?
Who is the author? Tell me something about him that you can connect to the poem
Summary of the poem
ALL INFO HERE NO MISSING

Student Version
Other major issues involve the accepted methods by which fidelity is measured. There are two major methods described in the literature for fidelity measurement. The first is through mathematical measurement that calculates the number of identical elements shared between the real world and the simulation; the greater the number of shared identical elements, the higher the simulation fidelity. A second method to measure fidelity is through a trainees’ performance matrix.
References:
Liu, D., Blickensderfer, E. L., Macchiarella, N. D., & Vincenzi, D. A. (2009). Simulation fidelity. In D. A. Vincenzi, J. A. Wise, M. Mouloua & P. A. Hancock (Eds.),
Human factors in simulation and training
(pp. 61-73). Boca Raton, FL: CRC Press.
Liu et al. (2009) identified two major methods for measuring fidelity. The first is a mathematical (objective) method that requires counting “the number of identical elements shared between the real world and the simulation; the greater the number of shared identical elements, the higher the simulation fidelity” (p. 62). The second method involves a performance matrix that compares a human’s performance in the simulation with that person’s real-world performance, producing an indirect measure of fidelity.
References:
Liu, D., Blickensderfer, E. L., Macchiarella, N. D., & Vincenzi, D. A. (2009). Simulation fidelity. In D. A. Vincenzi, J. A. Wise, M. Mouloua & P. A. Hancock (Eds.),
Human factors in simulation and training
(pp. 61-73). Boca Raton, FL: CRC Press.
Which of the following is true for the Student Version above?
Word-for-Word
Paraphrasing
This is not

Questions 1-5 are based on the following passage from
Heart of Darkness
:
“The yarns of a seamen have a direct simplicity, the meaning of which lies within the shell of a cracked nut. But Marlow was not typical (if his propensity to spin yarns be excepted), and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the special illumination of moonshine.”
How is Marlow like the other seamen?
He tells complicated tales.
He tells simple tales.
He tells tales.
He feels at home in the moonshine.
He only tells stories at night.
The point of the metaphor of the “cracked nut” is to emphasize:
Marlow’s intelligence.
the indirect quality in seamen’s stories.
the simplicity of Marlow’s stories.
the simplicity of the seamen’s stories.
the sea itself.
In the phrase, “brought it out only as a glow brings out a haze,” “it” refers to:
Marlow.
the tale.
the meaning of a tale.
a kernel.
a misty halo.
Which type of figurative language is used in this passage?
Personification
Irony
Simile
Apostrophe
Allusion
This passage characterizes Marlow as
expedient
perspicacious
eloquent
despondent
erudite
Questions 6-10 are based on the following passage from
Heart of Darkness
:
“But his soul was mad. Being alone in the wilderness, it had looked within itself, and, by heavens! I tell you, it had gone mad. I had—for my sins, I suppose—to go through the ordeal of looking into it myself. No eloquence could have been so withering to one’s belief in mankind as his final burst of sincerity. He struggled with himself, too. I saw it—I heard it. I saw the inconceivable mystery of a soul that knew no restraint, no faith, and no fear, yet struggling blindly with itself.”
Which of the following best describes the “inconceivable mystery” referred to in this passage?
The mystery of why Europeans colonized Africa
The mystery of why Marlow is attracted to Kurtz
The mystery of why Kurtz went insane
The mystery of why the wilderness has such an effect on people
The mystery of Kurtz’s eloquence
In the phrase, “I had—for my sins, I suppose—to go through the ordeal of looking into it myself,” “it” refers to:
the soul of the wilderness.
an African’s soul.
mankind’s soul.
Marlow’s soul.
Kurtz’s soul.
Marlow’s feelings are best described as:
gratitude and awe.
despair and amazement.
faith and hope.
cynicism and fear.
disgust and hatred.
Which type of figurative language is used in this passage?
Personification
Irony
Simile
Apostrophe
Allusion
What is Marlow referring to when he refers to “my sins”?
his prejudices toward Africans
his awe and admiration of Kurtz
his journey up the Amazon
his association with the “Company”
all of the above
Questions 11-20 are based on the following passage from
The Awakening
:
1 Edna Pontellier could not have told why,
wishing to go to the beach with Robert, she
should in the first place have declined, and in
the second place have followed in obedience
5 to one of the two contradictory impulses
which impelled her.
A certain light was beginning to dawn
dimly within her, ?the light which, showing
the way, forbids it.
10 At that early period it served but to
bewilder her. It moved her to dreams, to
thoughtfulness, to the shadowy anguish
which had overcome her the midnight when
she had abandoned herself to tears.
15 In short, Mrs. Pontellier was beginning to
realize her position in the universe as a
human being, and to recognize her relations
as an individual to the world within and
about her. This may seem like a ponderous
20 weight of wisdom to descend upon the soul of
a young woman of twenty—eight?perhaps
more wisdom than the Holy Ghost is usually
pleased to vouchsafe to any woman.
But the beginning of things, of a world
25 especially, is necessarily vague, tangled,
chaotic, and exceedingly disturbing. How few
of us ever emerge from such beginning! How
many souls perish in its tumult!
The voice of the sea is seductive; never
30 ceasing, whispering, clamoring, murmuring,
inviting the soul to wander for a spell in
abysses of solitude; to lose itself in mazes of
inward contemplation.
The voice of the sea speaks to the soul. The
35 touch of the sea is sensuous, enfolding the
body in its soft, close embrace.
The “it” in line 9 refers to:
“the two contradictory impulses” (line 5)
“a certain light… beginning to dawn” (line 7)
“the way” (line 9)
“that early period” (line 10)
“the shadowy anguish” (line 12)
In line 23, “vouchsafe” can be BEST replaced by:
bestow
inform
refuse
deign
withhold
The final paragraph of the passage (lines 34—36) foreshadows
Edna’s affair with Arobin
Robert’s shipwreck on his way to Mexico
The suicide at the end of the novel
Doctor Mandalet’s disappearance
None of the above
Which of the following lines BEST describes Edna’s realization of “her position” (line 16)?
“The voice of the sea speaks to the soul.” (line 34)
“This may seem like a ponderous weight of wisdom…” (lines 21—22)
“It moved her to dreams, to thoughtfulness, to the shadowy anguish…” (lines 11—12)
“Of a world especially, is necessarily vague, tangled, chaotic, and exceedingly disturbing.” (lines 24—26
“To one of the two contradictory impulses which impelled her.” (lines 5-6)
Line 30 contains an example of which literary device?
Polysyndeton
Asyndeton
Anthropomorphism
Metonymy
Allusion
The final two paragraphs depict a sea that is:
Anthropomorphized
Didactic
Dynamic
Foreboding
Personified
The shift in perspective in the sentence beginning on line 26 and ending on line 27 does all of the following EXCEPT
give the reader a direct connection to the emotions Edna is feeling.
imply that the situation is not uncommon.
give the narrator the opportunity to insert her commentary and experiences.
describe a situation for Edna to be a part of something greater than she.
draw the reader into the scene.
The “anguish” in line 12, most likely refers to
Edna’s distress over the Creole culture and her lack of understanding with it.
the heartbreak Edna felt when she listened to Madame Ratignolle reveal the intimate details of her delivery, knowing she would never be a “mother—woman”.
the torment of wanting to be on the beach with Robert and the moment, though perfect to her, would have repercussions.
the sadness Edna felt when she realized, after being scolded by Leonce and checking in on Raoul, that she is trapped.
the unending desire Edna has to be free of motherhood and its obligations.
The tone of the passage the BEST be described as
sardonic
didactic
solemn
melancholy
reverent
The literary device being used in line 23 is
Assonance
Anthropomorphism
Asyndeton
Allusion
Alliteration

Which of the following in-text citations is formatted correctly?
(Weaver, 2008, page 88)
(Weaver, 2008, p. 88)
(Weaver, 2008, p# 88)
(Weaver, 2008: 88)
What do you NOT have to cite on the Reference page?
Common knowledge
Ancient Greek or Roman texts (for example, the Bible)
your own unpublished ideas
All of the above
Which of the in-text citations below is formatted correctly?
(Johnson, 2012, p. 45)
(Johnson 2012 p. 45)
(Johnson: 2012, p.45)
(Johnson, Paul, 2012, p.45)
Which of the following in-text citations would be correct if you were citing an article by 6 or more authors?
(Davidson et al., 2011, p. 67)
(Davidson, Smith, Harrison, Karp, Corbin, & Freeman, 2011, p. 67)
(Davidson & Smith, et al., 2011, p. 67)
(Davidson, 2011, p. 67)
The main purpose of including a table is to
add length to your paper
engage the reader by giving them something else to look at
to clarify the meaning of the text
impress the reader with your knowledge of statistics
Figures include
Charts
line graphs
Pie charts
photographs
bar graphs
all of the above
When adding a figure from another source, include the citation at the end of the caption.
True
False
True or False: Each context provides both opportunities and limitations.
True
False
Context refers to
message
audience
purpose
writer
all the other elements of the rhetorical situation
If you are a popular musician, the context would mean that
your message will be limited by the time an average song is given to play on the radio
you may not be able to use certain words, or at least understand that they will be omitted during radio play
your song’s tone will be influenced by the instruments you choose
all of the above

Read the poem “Dead Stars” by H.O. Santos
.
Analyze and critique the poem using either Formalism, Feminism, Marxism, or Reader-response.
DEAD STARS
(for Paz Marquez Benitez)
by H.O. Santos
If I still think of her today
Why didn’t I tell her long ago?
I could have saved all wondering
For I’d have peace if I did know.
If I had learned of metaphors
Before I wondered ’bout the stars
Would I have written verses then?
And worshipped Venus instead of Mars?
If I had found my tongue could rhyme
Would I have shown a face sans mask?
A heart unsure? But woe is me-
I’ll never know, I didn’t ask.
Source: https://www.sushidog.com/bpss/poems staff/stars2.html
Rubric for the Critique
Criterion
Outstanding
(5 pts.)
Exceeds Expectations
(4 pts.)
Meets Expectations
(3 pts.)
Approaching Expectations
(2 pts.)
Unacceptable
(1 pt.)
Introduction
Introduction
grabs attention and provides meaningful context to a persuasive argument
Introduction
sparks some interest and effectively introduces reasonable argument
Introduction provides context for the argument but is obvious and/or basic
Introduction or conclusion does not flow with the argument of the paper
No introduction
Thesis
Argument is clearly articulated and persuasive, contains an original opinion
Thesis presents a reasonable opinion, argument is clear and focused
Thesis is a plausible argument; contains a legitimate opinion, but somewhat broad and basic
Thesis demonstrates misunderstanding of the prompt or text
Thesis not evident
Topic Sentences
and Transitions
Topic sentences contribute to the highly persuasive nature of the argument
Topic sentences articulate precise argument; logically linked to thesis
Topic sentences are present and make an argument connected to the thesis; however, ideas are obvious and basic
Topic sentences show misunderstanding or prompt text
Topic sentences not evident
Evidence
You have chosen, for the most part, the best evidence to support your point
Your evidence is believable and convincing and supports your argument
Evidence is present, but superficial
Evidence chosen does not support thesis/topic sentences
Little or no evidence
Commentary
Creative/ original ideas and insights; extensive commentary, refreshing, goes beyond obvious and basic commentary
Analysis is believable and convincing , a few assertions may lack specific examples, but assertions are still clearly connected to the argument
Analysis supports your argument, but ideas are obvious and basic
Ideas lack development; misunderstanding of prompt or text; illogical argument;
Analysis not present simply plot summary
Style, Vocabulary, Sentence Structure
Sophisticated vocabulary; sentence variety; quotations are smoothly blended
Effectively blends direct quotation with explanatory words and phrases to introduce the quotation and facilitate narrative flow; still attempting advanced vocabulary
Blend quoted material smoothly, but sentence structure lack variety- basic and obvious; attempts to incorporate more advanced vocabulary
Problems with sentence clarity, redundancy; some quotes stand alone; some vague sentences; little use of class vocabulary or sentence variety
Serious problems with coherence and sentence clarity; most sentences need revision; most quotes stand alone and lack introduction/
connection to the paper
Mechanics and
Coherence
Perfect (or 1 or 2 minor errors)
Effective punctuation; close to perfect
Minor problems with coherence, grammar, spelling, punctuation, but does not interfere with the understanding of paper
Several distracting problems with spelling, grammar, punctuation, citations incorrect
Major spelling, grammar, punctuation errors; distracts and interferes with understanding of paper; citations nonexistent

Clytie cooked the three meals on the stove, for they all ate different things, and set the three trays. She had to carry them in proper order up the stairs. She frowned in concentration, for it was hard to keep all the dishes straight, to make them come out right in the end, as Old Lethy could have done. They had had to give up the cook long ago when their father suffered the first stroke. Their father had been fond of Old Lethy, she had been his nurse in childhood, and she had come back out of the country to see him when she heard he was dying. Old Lethy had come and knocked at the back door. And as usual, at the first disturbance, front or back, Octavia had peered down from behind the curtain and cried, “Go away! Go away! What the devil have you come here for?” And although Old Lethy and their father had both pleaded that they might be allowed to see each other, Octavia had shouted as she always did, and sent the intruder away. Clytie had stood as usual, speechless in the kitchen, until finally she had repeated after her sister, “Lethy, go away.” But their father had not died. He was, instead, paralyzed, blind, and able only to call out in unintelligible sounds and to swallow liquids. Lethy still would come to the back door now and then, but they never let her in, and the old man no longer heard or knew enough to beg to see her. There was only one caller admitted to his room. Once a week the barber came by appointment to shave him. On this occasion not a word was spoken by anyone.
Clytie went up to her father’s room first and set the tray down on a little marble table they kept by his bed.
“I want to feed Papa,” said Octavia, taking the bowl from her hands.
“You fed him last time,” said Clytie.
Relinquishing the bowl, she looked down at the pointed face on the pillow. Tomorrow was the barber’s day, and the sharp black points, at their longest, stuck out like needles all over the wasted cheeks. The old man’s eyes were half closed. It was impossible to know what he felt. He looked as though he were really far away, neglected, free. . . . Octavia began to feed him.
Without taking her eyes from her father’s face, Clytie suddenly began to speak in rapid, bitter words to her sister, the wildest words that came to her head. But soon she began to cry and gasp, like a small child who has been pushed by the big boys into the water.
“That is enough,” said Octavia.
But Clytie could not take her eyes from her father’s unshaven face and his still-open mouth.
“And I’ll feed him tomorrow if I want to,” said Octavia. She stood up. The thick hair, growing back after an illness and dyed almost purple, fell over her forehead. Beginning at her throat, the long accordion pleats which fell the length of her gown opened and closed over her breasts as she breathed. “Have you forgotten Gerald?” she said. “And I am hungry too.”
Clytie went back to the kitchen and brought her sister’s supper.
Then she brought her brother’s.
Excerpt from “Clytie” in A CURTAIN OF GREEN AND OTHER STORIES, copyright 1941 and renewed 1969 by Eudora Welty, reproduced by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved.
1. Octavia’s dialogue with Clytie is characterized by
a repetitiousness that conveys forgetfulness
a repetitiousness that conveys forgetfulness
a discursiveness that conveys distractedness
a discursiveness that conveys distractedness
a brevity that conveys insecurity
a brevity that conveys insecurity
an ardor that conveys imagination
an ardor that conveys imagination
a terseness that conveys dominance
2. In the beginning of the sixth paragraph to the end of the seventh paragraph (“Without . . . mouth”) the description of Clytie’s lingering attention to her father’s face suggests her
growing realization of his impending death
growing realization of his impending death
remorse about her past lack of concern for him
remorse about her past lack of concern for him
disgust at his gaunt and deathly appearance
disgust at his gaunt and deathly appearance
need for some sign of affection from him
need for some sign of affection from him
repressed antagonism for the years he neglected her
3. Clytie’s behavior in the sixth paragraph suggests that she
is revealing an undefined hatred of her father
is revealing an undefined hatred of her father
is overcome by a sense of powerlessness
is overcome by a sense of powerlessness
has remembered an extremely painful experience
has remembered an extremely painful experience
fears for her safety
fears for her safety
realizes her attachment to Lethy

rie odyssey and Epic Poetry: An Introduction, Part 1 ssignment Active Paraphrasing a Passage But those who ate this honeyed plant, the Lotus,
Read the passage. Identify the central idea and key details. Then, paraphrase the passage. never cared to report, nor to return: they longed to
stay forever, browsing on that native bloom, forgetful of their homeland. -The Odyssey, Homer

How does the text evidence that Malcolm Gladwell provides in Chapter 2 of
Outliers: The Story of Success
help you identify and understand his central idea or claim? Which examples of the text evidence are strong and which are weaker? Are there examples of faulty logic? If so, how do they affect your response to the author’s central idea? Use your understanding of identifying and evaluating text evidence to develop your response. Support your writing with evidence from the text.
From Chapter Two: The 10,000-Hour Rule
For almost a generation, psychologists around the world have been engaged in a spirited debate over a question that most of us would consider to have been settled years ago. The question is this: is there such a thing as innate talent? The obvious answer is yes. Not every hockey player born in January ends up playing at the professional level. Only some do—the innately talented ones. Achievement is talent plus preparation. The problem with this view is that the closer psychologists look at the careers of the gifted, the smaller the role innate talent seems to play and the bigger the role preparation seems to play.
Exhibit A in the talent argument is a study done in the early 1990s by the psychologist K. Anders Ericsson and two colleagues at Berlin’s elite Academy of Music. With the help of the Academy’s professors, they divided the school’s violinists into three groups. In the first group were the stars, the students with the potential to become world-class soloists. In the second were those judged to be merely “good.” In the third were students who were unlikely to ever play professionally and who intended to be music teachers in the public school system. All of the violinists were then asked the same question: over the course of your entire career, ever since you first picked up the violin, how many hours have you practiced?
Everyone from all three groups started playing at roughly the same age, around five years old. In those first few years, everyone practiced roughly the same amount, about two or three hours a week. But when the students were around the age of eight, real differences started to emerge. The students who would end up the best in their class began to practice more than everyone else: six hours a week by age nine, eight hours a week by age twelve, sixteen hours a week by age fourteen, and up and up, until by the age of twenty they were practicing—that is, purposefully and single-mindedly playing their instruments with the intent to get better—well over thirty hours a week. In fact, by the age of twenty, the elite performers had each totaled ten thousand hours of practice. By contrast, the merely good students had totaled eight thousand hours, and the future music teachers had totaled just over four thousand hours.
Ericsson and his colleagues then compared amateur pianists with professional pianists. The same pattern emerged. The amateurs never practiced more than about three hours a week over the course of their childhood, and by the age of twenty they had totaled two thousand hours of practice. The professionals, on the other hand, steadily increased their practice time every year, until by the age of twenty they, like the violinists, had reached ten thousand hours.
The striking thing about Ericsson’s study is that he and his colleagues couldn’t find any “naturals,” musicians who floated effortlessly to the top while practicing a fraction of the time their peers did. Nor could they find any “grinds,” people who worked harder than everyone else, yet just didn’t have what it takes to break the top ranks. Their research suggests that once a musician has enough ability to get into a top music school, the thing that distinguishes one performer from another is how hard he or she works. That’s it. And what’s more, the people at the very top don’t work just harder or even much harder than everyone else. They work much, much harder.
The idea that excellence at performing a complex task requires a critical minimum level of practice surfaces again and again in studies of expertise. In fact, researchers have settled on what they believe is the magic number for true expertise: ten thousand hours.
“The emerging picture from such studies is that ten thousand hours of practice is required to achieve the level of mastery associated with being a world-class expert—in anything,” writes the neurologist Daniel Levitin. “In study after study, of composers, basketball players, fiction writers, ice skaters, concert pianists, chess players, master criminals, and what have you, this number comes up again and again. Of course, this doesn’t address why some people get more out of their practice sessions than others do. But no one has yet found a case in which true world-class expertise was accomplished in less time. It seems that it takes the brain this long to assimilate all that it needs to know to achieve true mastery.”
This is true even of people we think of as prodigies. Mozart, for example, famously started writing music at six. But, writes the psychologist Michael Howe in his book Genius Explained, by the standards of mature composers, Mozart’s early works are not outstanding. The earliest pieces were all probably written down by his father, and perhaps improved in the process. Many of Wolfgang’s childhood compositions, such as the first seven of his concertos for piano and orchestra, are largely arrangements of works by other composers. Of those concertos that only contain music original to Mozart, the earliest that is now regarded as a masterwork (No. 9, K. 271) was not composed until he was twenty-one: by that time Mozart had already been composing concertos for ten years.
The music critic Harold Schonberg goes further: Mozart, he argues, actually “developed late,” since he didn’t produce his greatest work until he had been composing for more than twenty years.

What does the pleasure Senor Noboa take in his ability “to instill that double fear” suggest about his values and priorities? What theme about fear and power is suggested by these details?

Which of the following is the best example of subjugation? a union leader who rallies the members for a strike a tyrant who threatens to jail citizens who oppose unjust laws a business owner who gives workers a cost-of-living raise a president who urges Congress to vote on a potential new law 9.0.6.9:
19- Read the following excerpt from “On Seeing England for the First Time.” My friend told me that the prince was a symbol of her Englishness, and I could see that I had caused offense. I looked at her. She was an English person, the sort of English person I used to know at home, the sort who was nobody in England but somebody when they came to live among the people like me. There were many people I could have seen England with; that I was seeing it with this particular person, a person who reminded me of the people who showed me England long ago as I sat in church or at my desk, made me feel silent and afraid… Which sentence best describes the effect that the author achieves through the use of amplification—in this case, the repetition of the words English and England? a. She arouses in the reader conflicting feelings of hostility and gratitude toward England and its people. b. She stresses the power and influence that England and its people have had throughout the world. c. She lets the reader share her own experience of hearing those words repeated often in her life. d. She emphasizes her admiration for a place she had longed to visit for many years.
4- The author of “On Seeing England for the First Time” notes that by the time she visits England, she has become “a person who resides in a powerful country that takes up more than its fair share of a continent, the owner of a house with many rooms in it and of two automobiles.” The historical context in which she writes, therefore, is different from the one in which she grew up. How does her adult status affect her view of her childhood? a. She is happy to look back on a carefree and delightful childhood. b. She is so overwhelmed by material possessions that she feels nostalgic about her childhood. c. She is angered by thoughts of the submissiveness she was expected to display as a child. d. She is able to enjoy her adult wealth and freedom because in childhood she had few comforts.
13. The following question has two parts. Answer Part A first, and then Part B. Part A “On Seeing England for the First Time” was written about 150 years after Britain ended slavery in the Americas. How does this fact affect the author’s perspective regarding England? a. She is conflicted because she loves England in spite of its history with the slave trade. b. She honors the English culture for abolishing slavery long before the United States did the same. c. She resents the English attitude that the slave trade is in the past and therefore should not be remembered. d. She acknowledges that she, unlike most Antiguans, wants to focus on England’s role in the future, not in the past. Part B Which of the following sentences from the essay best supports the answer to Part A? a. If now as I speak of all this I give the impression of someone on the outside looking in, nose pressed up against a glass window, that is wrong. b. The reality of my life was conquests, subjugation, humiliation, enforced amnesia. I was forced to forget. c. I had seen the governor general at the public grounds at a ceremony celebrating the Queen’s birthday. d. That idea Christopher Columbus had was more powerful than the reality he met, and so the reality he met died.
Part A In “On Seeing England for the First Time,” the author attributes her feelings about England and English people, as an adult, to a particular cause. Which of the following best describes that cause? a. Her adult feelings are the result of personal contact with people from England. b. Her adult feelings are the same as what she has been taught to feel since early childhood. c. Her adult feelings stem from a childhood fascination with England that she never outgrew. d. Her adult feelings arise from a clash between what she once imagined and what she has seen in actual experience. Part B Which quotation from the essay best supports the answer to Part A? a. Again, the reality of my life, the life I led at the time I was being shown these views of England for the first time, for the second time, for the one-hundred-millionth time, was this: the sun shone with what sometimes seemed to be a deliberate cruelty; we must have done something to deserve that. England! I had seen England’s representatives. I had seen the governor general at the public grounds at a ceremony celebrating the Queen’s birthday. I had seen an old princess and I had seen a young princess. They had both been extremely not beautiful, but who of us would have told them that? The space between the idea of something and its reality is always wide and deep and dark. The longer they are kept apart—idea of thing, reality of thing—the wider the width, the deeper the depth, the thicker and darker the darkness… In me, the space between the idea of [England] and its reality had become filled with hatred… The landscape was almost as familiar as my own hand, but I had never been in this place before, so how could that be again? And the streets of Bath were familiar too, but I had never walked on them before. It was all
Part A Which of the following best describes the author’s attitude toward England and English people as revealed in “On Seeing England for the First Time”? 9.0.6.9 She tolerates the English