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COMPREHENSION

Directions Answer these questions about the excerpt from “The Prelude.”


1. The contradictory image of “woods decaying, never to be decayed” in line 5 suggests

A harmony and discord

B perfection and imperfection

C change and permanence

D solitude and companionship

2. In lines 6–8, assonance and consonance help to convey the sounds of

A water and wind

B birds and people

C hooves and people’s feet

D echoes and whispers in the pass

3. Which phrase in the poem presents an image of freedom?

A “stationary blasts” (line 6)

B “giddy prospect” (line 13)

C “unfettered clouds” (line 14)

D “blossoms upon one tree” (line 17)

4. Which phrase presents an image of conflicting forces?

A “gloomy Pass” (line 2)

B “immeasurable height” (line 4)

C “Winds thwarting winds” (line 8)

D “torrents shooting” (line 9)

5. Wordsworth’s use of personification and onomatopoeia in lines 10–11 helps to

A create a humorous image

B convey a sense of harmony

C emphasize that nature is alive

D illustrate the beauty of nature

6. A characteristic of romanticism that is evident in lines 4–15 is the poet’s use of

A supernatural experiences to explain human feelings

B descriptions of common people and their daily lives

C natural phenomena to find solutions to society’s problems

D images that exalt the creative and destructive forces of nature

7. The similes in lines 16–20 express the belief that

A all of nature’s variety stems from a single, timeless source

B nature is like the mind of a dangerous criminal

C ancient texts reveal the true meaning of the laws of nature

D the course of friendship is similar to a journey through the mountains


Directions Answer these questions about the excerpt from “Hymn to Intellectual Beauty.”


8. Which image in the first stanza is a metaphor for the “intellectual beauty” of the title?

A “The awful shadow”

B “This various world”

C “summer winds”

D “piny mountain”

9. Reread lines 1–4. Which quality is Shelley attributing to intellectual beauty in the simile “with as inconstant wing / As summer winds that creep from flower to flower”?

A gentleness

B ordinariness

C unpredictability

D cheerfulness

10. In line 8, the simile that compares the shadow to “hues and harmonies of evening” appeals to the senses of

A sight and touch

B taste and smell

C hearing and taste

D sight and hearing

11. The alliteration in “Like memory of music fled” (line 10) mimics the quality of

A speed, as when someone runs away

B loss, as when life changes over time

C a musical note, as when someone hums

D irony, as when something is appreciated only after it is gone

12. In the first stanza, the poet has created images and similes that describe

A an idealized summer day in a “various world”

B the nature of the “shadow of some unseen Power”

C the troubles that he will suffer in his “human heart”

D how people respond to the “grace” and “mystery” of life

13. Which type of figurative language is used in lines 13–15 when the speaker mournfully questions the “Spirit of Beauty”?

A simile

B metaphor

C apostrophe

D personification

14. The alliteration in “This dim vast vale of tears, vacant and desolate” (line 17) helps convey an image of

A a meaningless world

B overwhelming emptiness

C a severe rainstorm

D the darkness of winter

15. “Hymn to Intellectual Beauty” is characteristic of romantic poetry because Shelley

A writes about subjective experiences of the individual

B stresses reason and common sense

C conveys a witty and refined view of his world

D comments on human interactions with institutions


Directions Answer this question about both poems.


16. Which statement describes a characteristic of Romanticism that is exhibited in both poems?

A The poets recount emotional responses to life in clear, simple language.

B All forces of nature are connected to the poets’ religious beliefs.

C The celebration of love above all other emotions is central to the poem.

D Both poets draw extensively on nature and their imaginations to convey their ideas.




Äàòà äîáàâëåíèÿ: 2015-09-12; ïðîñìîòðîâ: 211 | Ïîìîæåì íàïèñàòü âàøó ðàáîòó | Íàðóøåíèå àâòîðñêèõ ïðàâ

READING COMPREHENSION | Reading Assessment II. Anglo-Saxon Prose | COMPREHENSION | COMPREHENSION | Reading Assessment IV. Renaissance prose | COMPREHENSION | Reading Assessment V. RESTORATION prose | COMPREHENSION | COMPREHENSION | Reading Assessment VI. ROMANTIC LITERATURE |


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