Tag: Academic writing

Part A: Which statement best expresses the central idea of the text?
Jonathan Edwards doesn’t agree with God’s forgiving nature towards sinners, as he continues to keep them out of Hell.
Jonathan Edwards supports the ideas conveyed in religious texts that claim that anyone can be spared from Hell, no matter their sins.
Jonathan Edwards believes that God, angered by sinners’ actions, subjectively controls their fate and eventual bleak end.
Jonathan Edwards fears for himself and others, as it’s difficult to predict what will anger God and incite his wrath.
_____ 2. Part B: Which detail from the text best supports the answer to Part A?
“The use of this awful subject may be for awakening unconverted persons in this congregation. This that you have heard is the case of every one of you that are out of Christ.” (Paragraph 2)
“There are the black clouds of God’s wrath now hanging directly over your heads, full of the dreadful storm, and big with thunder; and were it not for the restraining hand of God, it would immediately burst forth upon you.” (Paragraph 4)
“The wrath of God is like great waters that are dammed for the present; they increase more and more, and rise higher and higher, till an outlet is given” (Paragraph 5)
“and you have no interest in any Mediator, and nothing to lay hold of to save yourself, nothing to keep off the flames of wrath, nothing of your own, nothing that you ever have done” (Paragraph 8).

Image transcription text
Air Castles by Juan F. Salazar My life’s tomorrow beckons me From distant mountains, high and low, My future seems a boundless sea, Where moving passions come and go. Deep in my heart Ambition dwells; He cheers me up the highland way, And guides me through the hills and dells Wherein I pass the busy day. I cannot write with Shakespeare’s’ pen, But I can love with Shakespeare’s heart. I love his skill, his craft of men, His mastery of poet’s art. I do not care for fame, as he, Enthroned, was like unto a god; The depths he reached are dark to me, But I will grope the ways he trod. I wear achievement’s coronet, For blest are they who see things done! And all my cares I soon forget When I have wrought my work alone. If I be met by adverse Fate, And all my dreams be but in vain, Then must I work the harder yet With high resolve to try again.3
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QUESTIONS
1. What do you think does the title “Air Castle” refers to? Explain using example from the poem.
2. What does the speaker in the poem think of the future?
3. How does the speaker feel about Shakespeare? Do you also admire a particular literary writer? Who is he/she? Why do you admire him/her?
4. Which among the speaker’s ideas do you agree with? How do you think does this poem relates to a students like you?
5. In two sentences, summarize the meaning of the last stanza.

(1) The earliest example of American disobedience is the rebellion over the Stamp Act. The American people were furious with the British for enacting the Stamp Act, the first direct tax on the colonies after a period of neglect. (2) The colonists revolted, organizing protests, signing petitions, and declaring, “No taxation without representation” and got the Stamp Act repealed. (3) However it was only with disobedience on the part of the colonists that the British decided to repeal the Stamp Act. (4) Otherwise, it would have set a precedent for the British to continue directly taxing the colonists. (5) Eventually the colonists became fed up with being colonies and launched future acts of disobedience to gain independence.
Which version of sentence 5 best develops the relationship between the Stamp Act and other American acts of rebellion which followed? (5 points)
As it is now
Eventually the colonists became fed up with being colonies and launched their next act of disobedience; the American Revolution, which led to independence.
The Declaration of Independence, which came next, included the Stamp Act in its list of 27 grievances.
The Stamp Act was included in the grievances later listed in the Declaration of Independence, which led to the American Revolution, another act of disobedience.

Part 2 –
Fahrenheit 451
by Ray Bradbury – The Sieve and the Sand
1. In the scene where Mildred and Montag read books together, what are their separate reactions?
2. What is the effect throughout sections I and II, of the bombers flying over?
3. Montag’s reaction to the commercial on the subway is a turning point in his life. How does he react and why?

Tutors, read the passage below and then answer the following questions.
Act 1, Scene 4 from
King Lear
LEAR: Woe that too late repents!—O, sir, are you come?
Is it your will? Speak, sir!—Prepare me horses.
Ingratitude, thou marble-hearted fiend,
More hideous when thou show’st thee in a child
Than the sea-monster!
ALBANY: Pray, sir, be patient.
LEAR: [
to Goneril
] Detested kite, thou liest!
My train are men of choice and rarest parts,
That all particulars of duty know
And in the most exact regard support
The worships of their name.—O most small fault,
How ugly didst thou in Cordelia show!
Which, like an engine, wrench’d my frame of nature
From the fix’d place; drew from my heart all love
And added to the gall. O Lear, Lear, Lear!
Beat at this gate that let thy folly in [
Strikes his head.
]
And thy dear judgment out! Go, go, my people.
ALBANY: My lord, I am guiltless, as I am ignorant
Of what hath mov’d you.
LEAR: It may be so, my lord.
Hear, Nature, hear! dear goddess, hear!
Suspend thy purpose, if thou didst intend
To make this creature fruitful.
Into her womb convey sterility;
Dry up in her the organs of increase;
And from her derogate body never spring
A babe to honour her! If she must teem,
Create her child of spleen, that it may live
And be a thwart disnatur’d torment to her.
Let it stamp wrinkles in her brow of youth,
With cadent tears fret channels in her cheeks,
Turn all her mother’s pains and benefits
To laughter and contempt, that she may feel
How sharper than a serpent’s tooth it is
To have a thankless child! Away, away! Exit.
ALBANY: Now, gods that we adore, whereof comes this?
GONERIL: Never afflict yourself to know the cause;
But let his disposition have that scope
That dotage gives it.
1.)      In this passage from
King Lear
, Goneril’s character can best be defined as a
?      A.flat antagonist.
?      B.flat protagonist.
?      C.round antagonist.
?      D.round protagonist.
?      E.stock character.
2.)      How does Lear’s diction in the following lines help create his voice?
“Ingratitude, thou marble-hearted fiend,
More hideous when thou show’st thee in a child
Than the sea-monster!”
?      A.It shows that Lear is constantly listening to no one but himself.
?      B.It highlights that Lear prefers to communicate by insulting others.
?      C.It demonstrates a deep contrast in Lear’s actions versus his thoughts.
?      D.It indicates that Lear is not used to having his power taken from him.
3.)      How do Goneril’s actions in this passage develop a theme?
?      A.Her actions develop the theme of betrayal by highlighting how she has betrayed Lear.
?      B.Her actions develop the theme of power by showing that her husband is more powerful.
?      C.Her actions develop the theme of loyalty by demonstrating that she is loyal to Albany only.
?      D.Her actions develop the theme of justice by revealing the justice that is being served to Lear.
?      E.Her actions develop the theme of compassion by portraying her as the most compassionate daughter.
4.) Which statement best describes how the motif of nature develops a theme in the passage?
?      A.The motif of nature develops the theme of truth because Lear counts on nature telling him the truth.
?      B.The motif of nature develops the theme of betrayal because neither Lear nor his family can trust nature.
?      C.The motif of nature develops the theme of justice because Lear pleads with nature to serve justice to Goneril.
?      D.The motif of nature develops the theme of power because nature is shown to be more powerful than humans.
?      E.The motif of nature develops the theme of compassion because nature comforts Lear in the midst of his woes.
5.)      How do the following lines by Lear develop a complex theme in
King Lear
?
“O most small fault,
How ugly didst thou in Cordelia show!
Which, like an engine, wrench’d my frame of nature
From the fix’d place; drew from my heart all love
And added to the gall.”
?      A.They develop the theme of power by highlighting how Lear now lacks any power over his daughters.
?      B.They develop the theme of loyalty by revealing that Lear now believes all his daughters are disloyal.
?      C.They develop the theme of justice by demonstrating that Cordelia’s banishment was fair and deserved.
?      D.They develop the theme of truth by illustrating that Lear still cannot comprehend his daughters’ motives.
?      E.They develop the theme of betrayal by showing Lear beginning to understand how he has wronged Cordelia.
6.) Which statement best describes how the imagery of Lear’s speech to Goneril affects the tone in this passage?
?      A.The imagery is fanciful, creating a playful tone.
?      B.The imagery is shocking, creating a startled tone.
?      C.The imagery is frightening, creating a spooky tone.
?      D.The imagery is contradictory, creating a confused tone.
?      E.The imagery is revolting, creating an uncomfortable tone.
7.)      Which statement best describes Shakespeare choice of words in the passage?
?      A.Shakespeare’s diction portrays Lear as someone who cannot see his own mistakes.
?      B.Shakespeare’s diction conveys Lear’s disappointment over losing his power to Albany.
?      C.Shakespeare’s diction demonstrates Lear’s rage over his sense of betrayal by his daughters.
?      D.Shakespeare’s diction shows Lear’s determination to get revenge on Goneril for her actions.
?      E.Shakespeare’s diction illuminates the close but fractured relationship between Lear and Goneril.

DIRECTIONS: Answer these questions about “The Song of the Mud” and “Dulce et Decorum Est.” Answer in complete sentences.
What diction has a strong impact in “The Song of the Mud”?
How does the title “The Song of the Mud” employ irony?
How does this diction and irony relate to a theme Borden develops about war?
What diction in “Dulce et Decorum Est” suggests the opposite of sweetness?
How does the phrase “ecstasy of fumbling” in line 9 of “Dulce et Decorum Est” show irony?
How does this diction and irony relate to a theme Owen develops about war?

lease read the following question and then after answer the questions, please.
Excerpt from
The Awakening
by Kate Chopin
Victor, with hammer and nails and scraps of scantling, was patching a corner of one of the galleries. Mariequita sat near by, dangling her legs, watching him work, and handing him nails from the tool-box. The sun was beating down upon them. The girl had covered her head with her apron folded into a square pad. They had been talking for an hour or more. She was never tired of hearing Victor describe the dinner at Mrs. Pontellier’s. He exaggerated every detail, making it appear a veritable Lucullean feast. The flowers were in tubs, he said. The champagne was quaffed from huge golden goblets. Venus rising from the foam could have presented no more entrancing a spectacle than Mrs. Pontellier, blazing with beauty and diamonds at the head of the board, while the other women were all of them youthful houris, possessed of incomparable charms. She got it into her head that Victor was in love with Mrs. Pontellier, and he gave her evasive answers, framed so as to confirm her belief. She grew sullen and cried a little, threatening to go off and leave him to his fine ladies. There were a dozen men crazy about her at the Cheniere; and since it was the fashion to be in love with married people, why, she could run away any time she liked to New Orleans with Celina’s husband.
Celina’s husband was a fool, a coward, and a pig, and to prove it to her, Victor intended to hammer his head into a jelly the next time he encountered him. This assurance was very consoling to Mariequita. She dried her eyes, and grew cheerful at the prospect.
They were still talking of the dinner and the allurements of city life when Mrs. Pontellier herself slipped around the corner of the house. The two youngsters stayed dumb with amazement before what they considered to be an apparition. But it was really she in flesh and blood, looking tired and a little travel-stained.
“I walked up from the wharf,” she said, “and heard the hammering. I supposed it was you, mending the porch. It’s a good thing. I was always tripping over those loose planks last summer. How dreary and deserted everything looks!”
It took Victor some little time to comprehend that she had come in Beaudelet’s lugger, that she had come alone, and for no purpose but to rest.
“There’s nothing fixed up yet, you see. I’ll give you my room; it’s the only place.”
“Any corner will do,” she assured him.
“And if you can stand Philomel’s cooking,” he went on, “though I might try to get her mother while you are here. Do you think she would come?” turning to Mariequita.
Mariequita thought that perhaps Philomel’s mother might come for a few days, and money enough.
Beholding Mrs. Pontellier make her appearance, the girl had at once suspected a lovers’ rendezvous. But Victor’s astonishment was so genuine, and Mrs. Pontellier’s indifference so apparent, that the disturbing notion did not lodge long in her brain. She contemplated with the greatest interest this woman who gave the most sumptuous dinners in America, and who had all the men in New Orleans at her feet.
“What time will you have dinner?” asked Edna. “I’m very hungry; but don’t get anything extra.”
“I’ll have it ready in little or no time,” he said, bustling and packing away his tools. “You may go to my room to brush up and rest yourself. Mariequita will show you.”
“Thank you,” said Edna. “But, do you know, I have a notion to go down to the beach and take a good wash and even a little swim, before dinner?”
“The water is too cold!” they both exclaimed. “Don’t think of it.”
“Well, I might go down and try—dip my toes in. Why, it seems to me the sun is hot enough to have warmed the very depths of the ocean. Could you get me a couple of towels? I’d better go right away, so as to be back in time. It would be a little too chilly if I waited till this afternoon.”
Mariequita ran over to Victor’s room, and returned with some towels, which she gave to Edna.
“I hope you have fish for dinner,” said Edna, as she started to walk away; “but don’t do anything extra if you haven’t.”
“Run and find Philomel’s mother,” Victor instructed the girl. “I’ll go to the kitchen and see what I can do. By Gimminy! Women have no consideration! She might have sent me word.”
Edna walked on down to the beach rather mechanically, not noticing anything special except that the sun was hot. She was not dwelling upon any particular train of thought. She had done all the thinking which was necessary after Robert went away, when she lay awake upon the sofa till morning.
She had said over and over to herself: “To-day it is Arobin; to-morrow it will be some one else. It makes no difference to me, it doesn’t matter about Leonce Pontellier—but Raoul and Etienne!” She understood now clearly what she had meant long ago when she said to Adele Ratignolle that she would give up the unessential, but she would never sacrifice herself for her children.
Despondency had come upon her there in the wakeful night, and had never lifted. There was no one thing in the world that she desired. There was no human being whom she wanted near her except Robert; and she even realized that the day would come when he, too, and the thought of him would melt out of her existence, leaving her alone. The children appeared before her like antagonists who had overcome her; who had overpowered and sought to drag her into the soul’s slavery for the rest of her days. But she knew a way to elude them. She was not thinking of these things when she walked down to the beach.
The water of the Gulf stretched out before her, gleaming with the million lights of the sun. The voice of the sea is seductive, never ceasing, whispering, clamoring, murmuring, inviting the soul to wander in abysses of solitude. All along the white beach, up and down, there was no living thing in sight. A bird with a broken wing was beating the air above, reeling, fluttering, circling disabled down, down to the water.
Edna had found her old bathing suit still hanging, faded, upon its accustomed peg.
She put it on, leaving her clothing in the bath-house. But

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Read the story first and answer this question:
A. Evaluate the character of the father of Leon and Baldo, expressing in the evaluation your own opinion as to whether he is acting more as concerned father, or whether he is simply a domineering one.
B. Explain briefly the new insight that Baldo gains from his initial exposure to his brother’s wife, Maria.
HOW MY BROTHER LEON BROUGHT HOME A WIFE Manuel E. Arguilia She stepped down from the carratela of Ca Celin with a quick, delicate grace. She was lovely. She was tall. She looked up to my brother with a smile, and her forehead was on a level with his mouth. “You are Baldo,” she said and placed her hand lightly on my shoulder. Her nails were long, but they were not painted. She was fragrant like a morning when papayas are in bloom. And a small dimple appeared momentarily high up on her right cheek. “And this is Labang of whom I have heard so much.” She held the wrist of one hand with the other and looked at Labang, and Labang never stopped chewing his cud. He swallowed and brought up to his mouth more cud and the sound of his insides was like a drum. I laid a hand on Labang’s massive neck and said: “You may scratch his forehead now.” She hesitated and saw that her eyes were on the long curving horns. But she was game and touched Labang’s forehead with her long fingers, and Labang never even stopped chewing his cud except that his big eyes half closed. And by and by, she was scratching his forehead very daintily. My brother Leon put down the two trunks on the grassy side of the road. He paid Ca Celin twice the usual fare from the station to the edge of Nagrebcan. Then he was standing beside us, and she turned him eagerly. I watched Ca Celin, where he stood in front of his horse, and he ran his fingers through his forelock and could not keep his eyes away from her. “Maria–,” my brother Leon said. He did not say Maring. He did not say Mayang. I knew then that he had always called her Maria, and that to us all she would be Maria: and in my mind I said– “Maria”– and it was a beautiful name. “Yes, Noel.” Now where did she get that name? I pondered the matter quietly to myself, thinking father might not like it. But it was only the name my brother Leon said backwards and it sounded much better that way. “There is Nagrebcan, Maria,” my brother Leon said, gesturing widely toward the west. She moved close to him and slipped her arm through his. After a while she said quietly, “You love Nagrebcan, don’t you, Noel?” Ca Celin drove away hi-yi—ying to his horse loudly. At the bend of the camino real where the big duhat tree grows, he rattled the handle of his braided rattan whip against the spokes of the wheel. We stood alone on the roadside. The sun was in our eyes, it was dipping into the bright sea. The sky was wide and deep and very blue above us, but along the sawtooth rim of the Katayaghan hills to the southwest flamed huge masses of clouds. Before us the fields swam in a golden haze through which floated big purple and red and yellow bubbles when I looked at the sinking sun. Labang’s white coat, which I had washed and brushed that morning with a coconut husk, glistened like beaten cotton under the lamplight and his horns appeared tipped with fire. He faced the sun and from his mouth came a call so loud and vibrant that the earth seemed to tremble underfoot. And far away in the middle of the fields a cow lowed softly in answer.
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“Hitch him to the cart, Baldo,” my brother said, laughing. and she laughed with him a bit uncertainly, and I saw that he had put his arm around her shoulders. “Why does he make that sound?” she asked. “I have yet to hear another bull call like Labang. In all the world there is no other bull like him.” She was smiling at him, and I stopped in the act of tying the sinta across Labang’s neck to the opposite end of the yoke, because her teeth were very white, her eyes were so full of laughter, and there was the small dimple high up on her right cheek. “If you continue to talk about him like that, either I shall fall in love with him or become greatly jealous.” My brother laughed and she laughed and they looked at each other and it seemed to me there was a world of laughter between them and in them. I climbed into the cart over the wheel and Labang would have bolted for he was always like that, but I kept a firm hold on his rope. He was restless and would not stand still, so that my brother Leon had to say “Labang” several times. When he was quiet again, my brother Leon lifted the trunks into the cart, placing the smaller one on top. She looked down once at her high heeled shoes, then she gave her left hand to my brother Leon, placed a foot on the hub of the wheel, and in one breath she had swung up into the cart. Oh, the fragrance of her! But Labang was fairly dancing with impatience and it was all I could do to keep him from running away. “Give me the rope, Baldo,” my brother Leon said. “Maria, sit down on the hay and hold on to anything.” Then he put a foot on the left shaft and that instant Labang leaped forward. My brother Leon laughed as he drew himself up to the top side of the cart and made the slack of the rope hiss above the back of Labang. The wind whistled against my cheeks and the rattling of the wheels on the pebbly road echoed in my ears. She sat up straight on the bottom of the cart, legs bent together to one side, her skirts spread over them so that only the toes and heels of her shoes were visible. Her eyes were on my brother Leon’s back; I saw the wind on her hair. When Labang slowed down, my brother Leon handed me the rope, I knelt on the straw inside the cart and pulled on the rope until Labang was merely shuffling along, then I made him turn around. “What is it you have forgotten now, Baldo?” my brother Leon said. I did not say anything but tickled with my fingers the nimp of Labang; and away we went—back to where I had unhitched and waited for them. The sun had sunk and down from the wooded sides of the Katayaghan hills shadows were stealing into the fields. High up overhead the sky burned with many slow fires. When I sent Labang down the deep cut that would bring us to the dry bed of the Waig which could be used as a path to our place during the dry season, my brother Leon laid a hand on my shoulder and said sternly, “Who told you to drive through the fields tonight?” His hand was heavy on my shoulder, but I did not look at him nor utter a word until we were on the rocky bottom of the Waig. “Baldo, you fool, answer me before I lay the rope of Labang on you. Why do you follow the Waig instead of the camino real?” His fingers bit into my shoulder. “Father, he told me to follow the Waig tonight, Manong.” Swiftly his hand fell away from my shoulder and he reached for the rope of Labang. Then my brother Leon laughed, and he sat back, and laughing still, he said: “And I suppose Father also told you to hitch Labang to the cart and meet us with him instead of with Castano and the calesa.”
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Without waiting for me to answer, he turned to her and said. “Maria, why do you think Father should do that, now?” He laughed and added, “Have you ever

In “How to Find Joy in Your Sisyphean Existence,” Arthur Brooks argues that following the philosophy of Albert Camus by embracing the absurdity of life can lead to happiness. Pair “On the Doctrine of the Feeling of Power” with “How to Find Joy in Your Sisyphean Existence” and compare the texts’ points of view on human nature. What are Nietzche’s central arguments about human nature according to “On the Doctrine of the Feeling of Power”? What are Camus’ central arguments about human nature according to “How to Find Joy in Your Sisyphean Existence”? What do you see as the strengths and weaknesses of these two philosophies? Which of these philosophies aligns best with your own view of human nature and why?

The Crucible Act 2 Film Analysis
John Proctor tells his wife Elizabeth her “justice would freeze beer.” What does he mean by this example of hyperbole? Who is acting most reasonable in this scene—John or Elizabeth? Explain.
While George Jacobs is mentioned in the play, his trial is not shown. How does his trial affect your interpretation of the film? What does it show about the characters/courts? Explain.
The scene where Abby and John meet in the woods was originally included in the original play, but ultimately deleted by Arthur Miller. What is the purpose of this scene? Why do you think Miller deleted it from the play?
What role does theocracy play in the plot thus far? Remember, a theocracy is a government ruled by God, meaning all reverends are divinely guided by God and rule in the name of Him. Which characters demonstrate the effects of theocracy? Explain.