Modern Poetry Study Questions - calhoun.k12.al.us



Modern Poetry Study Questions

Multiple Choice

Identify the choice that best completes the statement or answers the question.

____ 1. Read these lines from “Acquainted with the Night.” What do you infer is the author’s purpose in writing this?

“I have looked down the saddest city lane.

I have passed by the watchman on his beat

And dropped my eyes, unwilling to explain.”

|a. |information |c. |explanation |

|b. |description |d. |persuasion |

____ 2. Which of these concepts is a principle of Imagist poetry?

|a. |All poetry must be rational, concrete, and clearly defined. |

|b. |Poetic themes must be derived from social or political problems. |

|c. |The image is the essence, the raw material, of poetry. |

|d. |Simple, everyday subjects are not worth considering as topics. |

____ 3. Read the following passage from “The Death of the Hired Man”: “Poor Silas, so concerned for other folk,/And nothing to look backward to with pride,/And nothing to look forward to with hope,/So now and never any different.” Regarding Silas, the speaker seems to feel

|a. |sympathetic. |c. |distressed. |

|b. |annoyed. |d. |proud. |

____ 4. A reader can determine the reason’s for a character’s actions by

|a. |analyzing the author’s word choices. |c. |identifying the author’s purpose. |

|b. |analyzing the setting of the selection. |d. |exploring a character’s motivations. |

Recall and Interpret (A Pact and In a Station of the Metro)

____ 5. What is the pact that the speaker makes?

|a. |an arrangement with his father |

|b. |a contract with a publisher |

|c. |an agreement with Walt Whitman |

|d. |an agreement not to write more poetry |

____ 6. Who is Walt Whitman?

|a. |a famous poet who wrote during the Civil War |

|b. |a talented novelist who wrote stories about the Wild West |

|c. |a little-known poet with ties to European artists |

|d. |a well-known poet who wrote when New York was still a colony |

____ 7. What extended metaphor appears in “A Pact”?

|a. |childhood from birth to adolescence |

|b. |a father-son relationship from youth to old age |

|c. |poetry from the Civil War to World War II |

|d. |wood from harvest to carving |

____ 8. What is the speaker saying about Whitman and his father?

|a. |He will follow his father’s dislike of Whitman. |

|b. |He will make his own decisions as an adult. |

|c. |He never agreed with his father, even as a young child. |

|d. |He knew his father and Whitman were close friends. |

____ 9. In which of these lines does the speaker imply Whitman’s role in modern poetry?

|a. |“It was you that broke the new wood” |

|b. |“We have on sap and one root” |

|c. |“I come to you as a grown child” |

|d. |“Now is a time for carving” |

____ 10. In the poem “In a Station of the Metro,” the speaker uses the word apparitions to mean

|a. |the white arsenic makeup worn by women of the time. |

|b. |ghosts of people who once used the metro but have died. |

|c. |blank stares and whites of eyes. |

|d. |the white-faced, ghost-like commuters. |

____ 11. The line “Petals on a wet, black bough” creates an impression of

|a. |light against dark. |c. |dry and wet. |

|b. |soft and hard. |d. |cold and hot. |

____ 12. The Metro is a

|a. |public park. |c. |subway station. |

|b. |city square. |d. |shopping mall. |

Vocabulary (A Pact and In a Station of the Metro)

____ 13. To be detested is to be

|a. |hated. |c. |tired. |

|b. |offended. |

____ 14. When an apparition appears in a haunted house, it is

|a. |a ghost-life figure. |c. |a devilish elf. |

|b. |a common appearance. |

____ 15. A hanging bough is

|a. |a flowering vine. |c. |a basket of ivy. |

|b. |a tree branch. |

____ 16. To have commerce between two people means to have

|a. |an aggressive, insulting relationship. |c. |an exchange of thoughts and ideas. |

|b. |a contract for labor. |

Recall and Interpret (Acquainted with the Night)

____ 17. When the speaker says, “acquainted with the night,” he means that he

|a. |works mostly at night. |c. |spends time outdoors at night. |

|b. |knows night from day. |d. |is uncomfortable at night. |

____ 18. What is the atmosphere implied by walking “out in rain—and back in rain”?

|a. |dreary |c. |courageous |

|b. |uplifting |d. |determined |

____ 19. In the first stanza, we learn all these facts about the speaker EXCEPT that he

|a. |spends a good deal of time alone. |

|b. |likes to be out at night. |

|c. |walks a great deal. |

|d. |is afraid of spending time with other people. |

____ 20. When the speaker claims to have “outwalked the furthest city light,” he implies that he

|a. |knows the exact distance to the city border. |

|b. |travels to a place few others go. |

|c. |likes walking long distances. |

|d. |walks without any sense of direction. |

____ 21. The speaker is unwilling to explain

|a. |what he is doing out so late at night. |

|b. |why he dislikes walking with other people. |

|c. |where he is going at that hour. |

|d. |who he has visited in the neighborhood. |

____ 22. “I have stood still and stopped the sound of feet”means that

|a. |there was no sound in the silent night. |

|b. |the person following the speaker stopped when he did. |

|c. |the speaker was the only one on the streets. |

|d. |the speaker moved from pavement to grass, thus producing no sound. |

____ 23. Which of these phrases conveys the mood of the poem?

|a. |“One luminary clock” |c. |“neither wrong nor right” |

|b. |“the saddest city lane” |d. |“the watchman on his beat” |

____ 24. The last two lines of the poem are an example of

|a. |an epigram. |c. |a sonnet. |

|b. |a quatrain. |d. |an heroic couplet. |

____ 25. Why is the clock at an unearthly height?

|a. |Against the dark sky, the clock seems to be floating in the air. |

|b. |The city planners built the clock tower too tall. |

|c. |The clock tower is the tallest building in the city. |

|d. |There is no real clock, just a cloud shaped like a clock. |

____ 26. The clock is “luminary” because it

|a. |tells the correct time. |c. |is very old. |

|b. |is lit up. |d. |represents the passage of time. |

____ 27. The rhyme scheme of the first two stanzas of this poem is

|a. |aab bcc. |c. |aba bcb. |

|b. |abb acc. |d. |abc abc. |

Recall and Interpret (anyone lived in a pretty how town)

____ 28. What does the line “spring summer autumn winter” represent?

|a. |simplicity |c. |changing fashions |

|b. |growth of the town |d. |continuing time |

____ 29. When the speaker talks about people who are both “little and small,” he may be discussing

|a. |the age of men. |c. |the commonness of the townsfolk. |

|b. |size and pettiness. |d. |the uniqueness of small children. |

____ 30. The speaker mentions “sun moon stars rain,” then later says “stars rain sun moon,” and this change represents

|a. |the constant cycle of passing time. |

|b. |the importance of weather in a small community. |

|c. |symbols on a calendar. |

|d. |a connection to anyone’s existence. |

____ 31. The children guess that

|a. |“anyone” loved “no one.” |c. |“no one” loved “anyone.” |

|b. |“no one” did not care for “anyone.” |d. |“someone” loved “everyone.” |

____ 32. The speaker does not give the characters names because

|a. |they represent universal stereotypes. |

|b. |he believes character is more important than a label. |

|c. |he wants the reader to give them names. |

|d. |they represent people the speaker dislikes. |

____ 33. The speaker says that “no one” was emotionally tied to “anyone” in this line:

|a. |“when by now and tree by leaf.” |

|b. |“she laughed his joy she cried his grief.” |

|c. |“someones married their everyones.” |

|d. |“they sowed their isn’t they reaped their same.” |

____ 34. What does “tree by leaf” or “bird by snow” imply?

|a. |nature in small bits |c. |a dream |

|b. |the town park |d. |the passing of seasons |

____ 35. In the poem, the reader learns that children

|a. |are likely to forget things they should remember. |

|b. |are like a town, growing and stretching. |

|c. |and nature are parallel entities in the universe. |

|d. |are everyone and someone. |

____ 36. What happens to “anyone”?

|a. |He becomes everyone. |c. |He dies. |

|b. |He moves away. |d. |He loses “no one.” |

____ 37. What is the sleep the speaker refers to in the phrase “they dream their sleep”?

|a. |fantasies |c. |rest |

|b. |illness |d. |death |

Vocabulary (anyone lived in a pretty how town)

____ 38. If people are apt to lie about something, they are

|a. |opposed to doing it. |c. |disinterested in doing it. |

|b. |likely to do it. |

____ 39. To reap is to

|a. |harvest a crop. |c. |move slowly. |

|b. |beat or thrash. |

Recall and Interpret (Birches)

____ 40. What is the meter used in “Birches”?

|a. |free verse |c. |dactylic trimeter |

|b. |anapestic heptameter |d. |blank verse |

____ 41. The line “As the stir cracks and crazes their enamel” appeals to the sense of

|a. |sight. |c. |smell. |

|b. |taste. |d. |touch. |

____ 42. When the speaker says “such heaps of broken glass” he is referring to

|a. |actual glass. |c. |fallen ice. |

|b. |leaves. |d. |birch bark. |

____ 43. The speaker describes the shape of the bent trees as being like

|a. |girls on hands and knees. |c. |sprawled legs. |

|b. |silver arches. |d. |twisted metal. |

____ 44. The boy subdues the trees when he

|a. |chops them down with his father’s axe. |

|b. |rides and bends them over until they cannot stand straight. |

|c. |attaches them to anchors until they are deformed. |

|d. |ties them together with stiff rope to make a fortress. |

____ 45. The reader understands that the farm boy

|a. |plays on sports teams. |c. |works all the time. |

|b. |spends his time idly. |d. |is alone during his free time. |

____ 46. When the boy is climbing trees, he

|a. |hoots and howls, and pretends he’s in a jungle. |

|b. |moves up the trees without a second thought. |

|c. |takes great care, particularly toward the top. |

|d. |is filled with fear and dreads each step he takes. |

____ 47. What is the speaker’s idea of getting away from his problems?

|a. |climbing a birch tree |c. |watching the snow cover the trees |

|b. |walking in the woods |d. |admiring the beauty of the woods |

Vocabulary (Birches)

____ 48. If a park bench is painted with red enamel, it is

|a. |bright and wet. |c. |glossy and shiny. |

|b. |dull and dark. |

____ 49. On the cool, damp forest floor grows bracken, which is

|a. |a mushroom or toadstool. |c. |a small yellow wildflower. |

|b. |a type of fern. |

____ 50. For a dancer to have grace and poise, she must achieve

|a. |a state of balance. |

|b. |a state of exhaustion. |

|c. |an important position in a dance company. |

Recall and Interpret (Eating Poetry and beware: do not read this poem)

____ 51. When the speaker says, “Ink runs from the corners of my mouth,” he means

|a. |that he loves going to the library. |

|b. |the poetry was poorly printed. |

|c. |that he reads extensive amounts of poetry. |

|d. |has ink on the sides of his face. |

____ 52. What does the speaker claim to feel?

|a. |the greatest joy |c. |the deepest betrayal |

|b. |the ultimate boredom |d. |the worst anger |

____ 53. What is the speaker doing that brings on such emotion?

|a. |joining a pack of dogs |c. |working in the library |

|b. |following the librarian |d. |reading poetry |

____ 54. What is the extended metaphor that the speaker uses in “Eating Poetry”?

|a. |a dog |c. |a book |

|b. |a librarian |d. |a poem |

____ 55. What does the librarian represent?

|a. |the world at large |c. |the guardian of literature |

|b. |literary critics |d. |old-fashioned thinking |

____ 56. What does “eating poetry” mean?

|a. |The speaker is so enchanted with poetry that he literally “devours” it. |

|b. |The speaker wants to understand poetry’s deepest concepts. |

|c. |The speaker consumes poetry in order to write it. |

|d. |The speaker is actually a dog who has eaten pages of a book. |

____ 57. In “beware: do not read this poem,” the speaker compares the poem to

|a. |a mirror in an old home. |c. |the reflection of a past life. |

|b. |an old woman in a horror show. |d. |personal fears. |

____ 58. The old woman in the horror show is dangerous because she

|a. |disappears into a mirror because of her remarkable vanity. |

|b. |does not really exist in human form. |

|c. |becomes first a little girl, then a woman, and finally a man. |

|d. |enters a mirror and takes a victim from each new tenant. |

____ 59. What does the speaker say about the poem that compares it to the old woman?

|a. |It reflects the image of an old woman. |

|b. |It, too, takes victims. |

|c. |It is cruel to others. |

|d. |Villagers find it in the house. |

____ 60. The speaker says, “belch” because the speaker is

|a. |trying to be rude. |c. |digesting poetry. |

|b. |suffering from stomach ache. |d. |angry with the librarian. |

____ 61. All these literary devices appear in “beware…” EXCEPT

|a. |repetition. |c. |allegory. |

|b. |metaphor. |d. |imagery. |

Recall and Interpret (Mending Wall)

____ 62. Over time, a stone wall

|a. |disintegrates. |c. |becomes more solid. |

|b. |loses stones. |d. |increases in height. |

____ 63. According to the speaker, what human actions affect the wall?

|a. |Hunters knock the stones down looking for rabbits. |

|b. |Hunters encourage their dogs to search for foxes among the stones. |

|c. |Farmers knock over the stones to make room for their plows. |

|d. |Young boys knock over the stones as a joke. |

____ 64. When is the best time for repairing the stone wall?

|a. |summer |c. |winter |

|b. |fall |d. |spring |

____ 65. The speaker walks along the wall with

|a. |a farm worker. |c. |his next-door neighbor. |

|b. |his partner. |d. |his spouse. |

____ 66. The reader gets the impression that the speaker and his neighbor inspect the wall

|a. |every spring. |c. |once a week. |

|b. |every month. |d. |every few years. |

____ 67. The line “Some are loaves and some so nearly balls” is an example of

|a. |allusion. |c. |metaphor. |

|b. |simile. |d. |personification. |

____ 68. When the speaker says his apple trees will never eat the cones of the pines, he means

|a. |the wall will prevent the spread of one plant type into the area of the other. |

|b. |this is abstract language that describes apples and the evolution of orchards. |

|c. |apples are not herbivorous and will not be interested in pine cones. |

|d. |both farmers have crops that they do not wish to share. |

____ 69. Initially, the person who thought the wall was a good idea was the

|a. |speaker. |c. |neighbor’s father. |

|b. |neighbor. |d. |speaker’s father. |

____ 70. The wall seems odd to the speaker because neither

|a. |farmer grows wheat. |c. |person has an active farm. |

|b. |farmer has cows. |d. |man likes the other. |

____ 71. The speaker wants to know

|a. |how fast the wall can be repaired. |

|b. |how much work it will take to rebuild it. |

|c. |what his share of the wall will cost. |

|d. |whether he is keeping something inside the wall. |

____ 72. When the speaker says “I am apple orchard,” he means that

|a. |he wishes he could grow apples but has no success so far. |

|b. |apples are the crop he grows on his side of the fence. |

|c. |apples stand for productivity. |

|d. |he is committed to planting an orchard. |

____ 73. The outdoor game to which the speaker refers is

|a. |mending the wall. |c. |a form of baseball. |

|b. |collecting rocks. |d. |rock climbing. |

Recall and Interpret (Remarks at Amherst College)

____ 74. What is the occasion for Kennedy’s speech?

|a. |the opening of the Robert Frost library |

|b. |the graduation ceremony |

|c. |the opening of the school year |

|d. |a ceremony honoring past Amherst graduates |

____ 75. Kennedy says that an Amherst graduate feels an obligation to

|a. |support the library project. |

|b. |work in the financial world. |

|c. |serve the public interest. |

|d. |promote the reading and understanding of poetry. |

____ 76. According to Kennedy, privilege comes with

|a. |great wealth. |c. |commitment. |

|b. |responsibility. |d. |passion. |

____ 77. When Kennedy refers to the United States as “The Great Republic,” he is using the literary device called

|a. |personification. |c. |allegory. |

|b. |metonymy. |d. |foil. |

____ 78. According to Kennedy, a nation reveals itself by the

|a. |men it honors. |c. |arts it supports. |

|b. |schools it funds. |d. |poets it produces. |

____ 79. Kennedy says that Frost

|a. |faced society with courage and fortitude. |

|b. |gave society beautiful poems. |

|c. |made society face reality. |

|d. |deceived society through his poetry. |

____ 80. The lines “nothing to look backward to with pride, and nothing to look forward to with hope” are a quote from

|a. |“Mending Wall.” |

|b. |“Stopping by Woods on a Snowy Evening.” |

|c. |“Death of the Hired Man.” |

|d. |“Birches.” |

____ 81. Kennedy states that art is a form of

|a. |beauty. |c. |deception. |

|b. |bravery. |d. |truth. |

____ 82. Which other American poet does Kennedy mention in this speech?

|a. |Carl Sandburg |c. |E. E. Cummings |

|b. |Emily Dickinson |d. |Archibald MacLeish |

____ 83. According to Kennedy, Robert Frost brings together the qualities of

|a. |wit and wisdom. |c. |grace and gratitude. |

|b. |poetry and power. |d. |humility and honesty. |

____ 84. Frost viewed projects that dealt with human improvement with

|a. |skepticism. |c. |despair. |

|b. |humor. |d. |optimism. |

Recall and Interpret (somewhere i have never travelled,gladly beyond)

____ 85. “In your most frail gesture are things which enclose me” means that the speaker

|a. |feels overwhelmed by the woman. |

|b. |is annoyed by the woman’s tiny gestures. |

|c. |wants to break free from the relationship. |

|d. |is drawn into and held tight by the relationship. |

____ 86. What distinctive features categorize Cummings’s poetry?

|a. |traditional theme and innovative style |

|b. |classical themes and traditional style |

|c. |unique themes and classical style |

|d. |innovative themes and unfamiliar styles |

____ 87. What is the set rhyme scheme in the last stanza of this poem?

|a. |aabb |c. |abab |

|b. |abba |d. |abaa |

____ 88. What is unusual about the use of commas in this poem?

|a. |The commas represent places the speaker has travelled. |

|b. |The commas sometimes replace the spaces between words. |

|c. |Commas replace the end punctuation in this poem. |

|d. |Commas take the place of parentheses. |

____ 89. In the line “your slightest look easily will unclose me,” the term “unclose” means that the speaker will

|a. |be embarrassed. |c. |lose control. |

|b. |feel loose and relaxed. |d. |be heartbroken. |

____ 90. What does the reader notice about Cummings’s use of capitalization in this poem?

|a. |Cummings does not want to follow in the footsteps of other poets and capitalize the beginning of each line. |

|b. |The only word capitalized in the poem is Spring. |

|c. |Cummings thinks capital letters should not be used in poetry. |

|d. |Cummings always follows standard rules of capitalization. |

____ 91. To what item does the speaker compare his relationship with a woman?

|a. |a glancing look |c. |the mystery of love |

|b. |a heartbeat |d. |spring opening her first rose |

____ 92. When the speaker says “the voice of your eyes,” he means that

|a. |he understands unspoken words. |

|b. |facial expressions are significant. |

|c. |the woman is screaming through her eyes. |

|d. |the woman’s eyes speak to him. |

____ 93. The term “small hands” is used to imply

|a. |a delicate touch. |c. |something inhuman. |

|b. |a child’s hands. |d. |raindrops. |

____ 94. What is the general tone of the poem?

|a. |angry and accusing |c. |soft and romantic |

|b. |light and happy |d. |selfish and egocentric |

____ 95. The speaker says the most powerful thing in the world is the

|a. |woman’s intense fragility. |c. |depth of a woman’s eyes. |

|b. |texture of a woman’s hair. |d. |petal-like skin of a woman. |

Vocabulary (somewhere i have never travelled,gladly beyond)

____ 96. When a person renders a picture of a flower, he

|a. |cuts out the picture. |c. |reproduces the flower faithfully. |

|b. |destroys the picture. |

Recall and Interpret (Stopping by Woods on a Snowy Evening)

____ 97. What is the rhyme scheme of the first stanza in the poem?

|a. |aaba |c. |abab |

|b. |abba |d. |abaa |

____ 98. During which time of year does the poem take place?

|a. |spring |c. |fall |

|b. |summer |d. |winter |

____ 99. The reader may infer that the horse is impatient because of its

|a. |heavy snorting. |c. |stamping of hooves. |

|b. |shaking of the harness bells. |d. |neighing and whinnying. |

____ 100. The phrase “only other sound’s the sweep” is an example of

|a. |allusion. |c. |metaphor. |

|b. |parable. |d. |alliteration. |

____ 101. The man stops because he

|a. |used to own the woods near where he stopped. |

|b. |wants to watch the woods fill up with snow. |

|c. |is having trouble with the horse. |

|d. |is tired of traveling and needs to rest. |

____ 102. What is a theme of this poem?

|a. |a person’s need for quiet |c. |the beauty of nature |

|b. |the fury of a snowstorm |d. |the sadness of a bleak winter |

____ 103. How does the speaker describe the woods?

|a. |dark and deep |c. |cold and isolated |

|b. |quiet and shadowy |d. |distant and queer |

____ 104. The speaker decides to move along because he

|a. |is too cold to stay longer. |

|b. |has prior commitments. |

|c. |doesn’t want the horse to be out longer. |

|d. |has an early day the next day. |

____ 105. The speaker repeats the last line because he

|a. |lives far from the woods. |

|b. |promised he would be home early. |

|c. |has too much to do. |

|d. |has many miles to travel on life’s journey. |

Recall and Interpret (The Death of the Hired Man)

____ 106. Mary is waiting for Warren because she

|a. |wants to remind him of the shopping. |

|b. |wants to talk to him before he comes inside. |

|c. |is afraid of Warren’s anger. |

|d. |is planning on going with Warren into town. |

____ 107. Mary expect’s Warren to be angry because she

|a. |allowed Silas to come back at the farm. |

|b. |hired Silas against Warren’s advice. |

|c. |did not do her farm chores for the day. |

|d. |forgot to add certain items to the grocery list. |

____ 108. Warren thinks that Silas is

|a. |lazy. |c. |dishonest. |

|b. |stupid. |d. |unreliable. |

____ 109. Each winter, Silas chooses to

|a. |return to the farm. |c. |get a new job in the east. |

|b. |move south. |d. |take a long vacation. |

____ 110. When Mary found Silas on the doorstep, she did all of the following EXCEPT

|a. |make him tea. |c. |tried to make him talk. |

|b. |drag him into the house. |d. |put him to work. |

____ 111. Mary is concerned when she talks with Silas because he

|a. |falls off the chair. |c. |jumbles his words. |

|b. |seems angry. |d. |goes to sleep during their chat. |

____ 112. Who was on Silas’s mind while he talked to Mary?

|a. |Mary |c. |Warren |

|b. |Harold Wilson |d. |Mary’s son |

____ 113. What figurative language is used to describe Silas’s talent?

|a. |“Silas up on the cart to build the load.” |

|b. |“He takes it out in bunches like big birds’ nests.” |

|c. |“He could find water with a hazel prong.” |

|d. |“He hates to see the boy the fool of books.” |

____ 114. The following lines: “And nothing to look backward to with pride,/And nothing to look forward to with hope” mean that Silas

|a. |is too poor to have great memories. |

|b. |has big dreams that won’t come true. |

|c. |has never done a single worthwhile thing. |

|d. |has no past and no future. |

____ 115. Mary thinks Silas has returned

|a. |for his own death. |c. |for money. |

|b. |for work. |d. |for a place to sleep. |

Vocabulary (The Death of the Hired Man)

____ 116. When a woman’s kin sits down together for a meal, she is eating with her

|a. |friends. |c. |relatives. |

|b. |neighbors. |

____ 117. To coax a child to eat green beans is to

|a. |force him violently. |c. |demand that he eat immediately. |

|b. |persuade him gently. |

Recall and Interpret (The Love Song of J. Alfred Prufrock)

____ 118. The rhyme scheme used in this poem is

|a. |terza rima: aba bcb. |c. |rhymed couplets: aabccd. |

|b. |end rhyme: abcdd. |d. |ballad stanza: abcb. |

____ 119. The speaker repeatedly mentions time because it

|a. |represents a period of upcoming retirement. |

|b. |symbolizes the age of the women he would like to be with. |

|c. |represents the speaker’s old age. |

|d. |symbolizes all the changes and vagaries of life. |

____ 120. A possible description of J. Alfred Prufrock is that he

|a. |has thin hair, arms, legs, and wears stuffy clothing. |

|b. |is tall and gaunt, with a reddish complexion. |

|c. |has small, dark, brooding eyes and thick glasses with silver rims. |

|d. |is short, squat, heavy, and jolly. |

____ 121. Which line tells the pettiness and futility of the speaker’s life?

|a. |“I know the voices dying with a dying fall…” |

|b. |“I have measured out my life with coffee spoons.” |

|c. |“And I have known the eyes already, known them all.” |

|d. |“I have gone at dusk through narrow streets.” |

____ 122. The line “For decisions and revisions which a minute will reverse” means that

|a. |everything can change in a minute. |

|b. |every decision is revised. |

|c. |Prufrock cannot possibly make a decision. |

|d. |thoughts change constantly, but actions do not. |

____ 123. The lines “And I have known the arms already, known them all—

Arms that are braceleted and white and bare…” mean that Prufrock

|a. |knows women only in his imagination. |

|b. |has been involved with only one woman in his life. |

|c. |recognizes paintings of women by great artists. |

|d. |has known many different women in his life. |

____ 124. The speaker’s repeated mention of tea and teacups implies

|a. |a great, unquenchable thirst. |

|b. |the endless ritual of tea required in social situations. |

|c. |the innate thirst for knowledge. |

|d. |the tedious, daily morning habits, such as shaving or showering. |

Vocabulary (The Love Song of J. Alfred Prufrock)

____ 125. To digress is to

|a. |move forward slowly. |c. |divide one’s attention. |

|b. |ramble or wander. |

____ 126. A student who is deferential to a teacher

|a. |appreciates extra help. |c. |yields to another’s opinion. |

|b. |resents authority. |

____ 127. When Grace acted in an insidious manner, she showed she could be

|a. |dangerous. |c. |careful. |

|b. |childish. |

____ 128. Ken presumed he would be named captain of the team because he

|a. |took it for granted. |c. |paid others to vote for him. |

|b. |wanted it more than others. |

____ 129. To malinger means to

|a. |tell negative gossip about others. |c. |pretend to be sick to avoid work. |

|b. |hang around a public street. |

Recall and Interpret (The Red Wheelbarrow and This is Just to Say)

____ 130. In “The Red Wheelbarrow,” the wheelbarrow represents

|a. |something thoroughly unimportant. |c. |an item in the background. |

|b. |simply a gardening tool. |d. |the main idea of the poem. |

____ 131. In terms of visual media, “The Red Wheelbarrow” is most similar to

|a. |a music video. |c. |a television documentary. |

|b. |a snapshot. |d. |a full-length movie. |

____ 132. What does the opening line, “So much depends upon…” mean?

|a. |The speaker intentionally does not say. |

|b. |The speaker thinks that life depends on simplicity. |

|c. |The speaker’s world revolves around commonplace. |

|d. |The speaker says that gardening requires a red wheelbarrow. |

____ 133. The phrase “glazed with rain water” creates

|a. |an impression of happiness. |c. |a picture of a shiny surface. |

|b. |a feeling of sadness. |d. |the sense of depression. |

____ 134. William Carlos Williams’ style creates an effect of

|a. |complexity. |c. |simplicity. |

|b. |perfection. |d. |magic. |

____ 135. In “This Is Just to Say,” how does the speaker feel?

|a. |mildly guilty |c. |justified |

|b. |contented |d. |indignant |

____ 136. The theme of this poem is

|a. |thoughtlessness. |c. |uncontrolled appetite. |

|b. |a guilty pleasure. |d. |cheating on a diet. |

____ 137. Images in this poem appeal to the senses of

|a. |sight and feeling. |c. |taste and smell. |

|b. |sight and smell. |d. |taste and sight. |

Vocabulary (The Red Wheelbarrow and This is Just to Say)

____ 138. To depend on is

|a. |move on. |c. |promote. |

|b. |to rely on. |

____ 139. A glazed window is

|a. |covered with a smooth, glossy coating. |

|b. |sealed from the inside. |

|c. |colored and leaded like stained glass. |

____ 140. A cake that is delicious is

|a. |pleasing to taste. |c. |iced with chocolate. |

|b. |attractive to look at. |

Modern Poetry Study Questions

Answer Section

MULTIPLE CHOICE

1. ANS: B PTS: 1

2. ANS: C PTS: 1

3. ANS: A PTS: 1

4. ANS: D PTS: 1

5. ANS: C PTS: 1 DIF: C REF: p. 654

OBJ: analyzing literary periods | monitoring comprehension with questioning | analyzing imagery

STA: 11.2.1 | R.III-3 TOP: Unit 5 | Part 1 | A Pact and In a Station of the Metro

KEY: analysis | A Pact and In a Station of the Metro

6. ANS: A PTS: 1 DIF: C REF: p. 654

OBJ: analyzing literary periods | monitoring comprehension with questioning | analyzing imagery

STA: 11.1.1 | 11.2.1 | R.III-3 TOP: Unit 5 | Part 1 | A Pact and In a Station of the Metro

KEY: analysis | recall | A Pact and In a Station of the Metro

7. ANS: D PTS: 1 DIF: A REF: p. 654

OBJ: analyzing literary periods | monitoring comprehension with questioning | analyzing imagery

STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | A Pact and In a Station of the Metro

KEY: figurative language | metaphor | A Pact and In a Station of the Metro

8. ANS: B PTS: 1 DIF: C REF: p. 654

OBJ: analyzing literary periods | monitoring comprehension with questioning | analyzing imagery

STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | A Pact and In a Station of the Metro

KEY: analysis | interpretation | A Pact and In a Station of the Metro

9. ANS: A PTS: 1 DIF: C REF: p. 654

OBJ: analyzing literary periods | monitoring comprehension with questioning | analyzing imagery

STA: 11.1.1 | 11.2.1 | R.III-3 TOP: Unit 5 | Part 1 | A Pact and In a Station of the Metro

KEY: imagery | figurative language | A Pact and In a Station of the Metro

10. ANS: D PTS: 1 DIF: C REF: p. 654

OBJ: analyzing imagery STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | A Pact and In a Station of the Metro

KEY: analysis | imagery | A Pact and In a Station of the Metro

11. ANS: A PTS: 1 DIF: A REF: p. 654

OBJ: analyzing imagery STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | A Pact and In a Station of the Metro

KEY: imagery | figurative language | A Pact and In a Station of the Metro

12. ANS: C PTS: 1 DIF: A REF: p. 654

OBJ: analyzing literary periods | monitoring comprehension with questioning | analyzing imagery

STA: 11.1 | R.III-2 TOP: Unit 5 | Part 1 | A Pact and In a Station of the Metro

KEY: recall | A Pact and In a Station of the Metro

13. ANS: A PTS: 1 DIF: A REF: p. 654

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | A Pact and In a Station of the Metro

KEY: vocabulary | A Pact and In a Station of the Metro

14. ANS: A PTS: 1 DIF: A REF: p. 654

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | A Pact and In a Station of the Metro

KEY: vocabulary | A Pact and In a Station of the Metro

15. ANS: B PTS: 1 DIF: A REF: p. 654

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | A Pact and In a Station of the Metro

KEY: vocabulary | A Pact and In a Station of the Metro

16. ANS: C PTS: 1 DIF: A REF: p. 654

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | A Pact and In a Station of the Metro

KEY: vocabulary | A Pact and In a Station of the Metro

17. ANS: C PTS: 1 DIF: A REF: p. 713

OBJ: analyzing dramatic poetry STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Acquainted with the Night

KEY: analysis | Acquainted with the Night

18. ANS: A PTS: 1 DIF: C REF: p. 713

STA: 11.1 | R.III-2 TOP: Unit 5 | Part 1 | Acquainted with the Night

KEY: mood | Acquainted with the Night

19. ANS: D PTS: 1 DIF: A REF: p. 713

STA: 11.1 | R.I-1 TOP: Unit 5 | Part 1 | Acquainted with the Night

KEY: analysis | Acquainted with the Night

20. ANS: B PTS: 1 DIF: C REF: p. 713

OBJ: evaluating characterization STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Acquainted with the Night

KEY: characterization | Acquainted with the Night

21. ANS: A PTS: 1 DIF: C REF: p. 713

STA: 11.1 | R.III-2 TOP: Unit 5 | Part 1 | Acquainted with the Night

KEY: characterization | Acquainted with the Night

22. ANS: C PTS: 1 DIF: A REF: p. 713

OBJ: analyzing dramatic poetry STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Acquainted with the Night

KEY: alliteration | figurative language | Acquainted with the Night

23. ANS: B PTS: 1 DIF: A REF: p. 713

OBJ: analyzing dramatic poetry STA: 11.1 | R.III-2

TOP: Unit 5 | Part 1 | Acquainted with the Night KEY: mood | Acquainted with the Night

24. ANS: D PTS: 1 DIF: A REF: p. 713

STA: 11.2.4 | R.III-3 TOP: Unit 5 | Part 1 | Acquainted with the Night

KEY: heroic couplet | Acquainted with the Night

25. ANS: A PTS: 1 DIF: C REF: p. 713

OBJ: analyzing dramatic poetry STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Acquainted with the Night

KEY: figurative language | Acquainted with the Night

26. ANS: B PTS: 1 DIF: A REF: p. 713

OBJ: analyzing dramatic poetry STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | Acquainted with the Night KEY: style | Acquainted with the Night

27. ANS: C PTS: 1 DIF: A REF: p. 713

STA: 11.2.4 | R.III-3 TOP: Unit 5 | Part 1 | Acquainted with the Night

KEY: rhyme scheme | Acquainted with the Night

28. ANS: D PTS: 1 DIF: A REF: p. 697

OBJ: understanding style STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | anyone lived in a pretty how town

KEY: symbolism | anyone lived in a pretty how town

29. ANS: B PTS: 1 DIF: C REF: p. 697

OBJ: relating literature to the historical period | understanding style

STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | anyone lived in a pretty how town

KEY: theme | anyone lived in a pretty how town

30. ANS: A PTS: 1 DIF: C REF: p. 697

OBJ: understanding style STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | anyone lived in a pretty how town

KEY: symbolism | anyone lived in a pretty how town

31. ANS: C PTS: 1 DIF: A REF: p. 697

OBJ: understanding style STA: 11.1 | R.I-1

TOP: Unit 5 | Part 1 | anyone lived in a pretty how town

KEY: diction | style | anyone lived in a pretty how town

32. ANS: A PTS: 1 DIF: C REF: p. 697

OBJ: understanding style STA: 11.1 | R.III-2

TOP: Unit 5 | Part 1 | anyone lived in a pretty how town

KEY: style | anyone lived in a pretty how town

33. ANS: B PTS: 1 DIF: A REF: p. 697

OBJ: understanding style STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | anyone lived in a pretty how town

KEY: style | anyone lived in a pretty how town

34. ANS: D PTS: 1 DIF: C REF: p. 697

OBJ: understanding style STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | anyone lived in a pretty how town

KEY: figurative language | anyone lived in a pretty how town

35. ANS: A PTS: 1 DIF: A REF: p. 697

OBJ: understanding style STA: 11.1 | R.II-2

TOP: Unit 5 | Part 1 | anyone lived in a pretty how town

KEY: characterization | anyone lived in a pretty how town

36. ANS: C PTS: 1 DIF: A REF: p. 697

STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | anyone lived in a pretty how town

KEY: analysis | anyone lived in a pretty how town

37. ANS: D PTS: 1 DIF: A REF: p. 697

OBJ: understanding style STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | anyone lived in a pretty how town

KEY: symbolism | anyone lived in a pretty how town

38. ANS: B PTS: 1 DIF: A REF: p. 697

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | anyone lived in a pretty how town

KEY: vocabulary | anyone lived in a pretty how town

39. ANS: A PTS: 1 DIF: A REF: p. 697

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | anyone lived in a pretty how town

KEY: vocabulary | anyone lived in a pretty how town

40. ANS: D PTS: 1 DIF: A REF: p. 708

OBJ: understanding blank verse STA: 11.2.4 | R.III-3

TOP: Unit 5 | Part 1 | Birches KEY: blank verse | Birches

41. ANS: A PTS: 1 DIF: A REF: p. 708

OBJ: understanding blank verse STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | Birches

KEY: sensory details | Birches

42. ANS: C PTS: 1 DIF: A REF: p. 708

OBJ: understanding blank verse STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | Birches

KEY: figurative language | metaphor | Birches

43. ANS: A PTS: 1 DIF: A REF: p. 709

OBJ: understanding blank verse STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | Birches

KEY: figurative language | Birches

44. ANS: B PTS: 1 DIF: A REF: p. 709

OBJ: understanding blank verse | analyzing dramatic poetry STA: 11.1 | R.I-1

TOP: Unit 5 | Part 1 | Birches KEY: analysis | Birches

45. ANS: D PTS: 1 DIF: C REF: p. 709

OBJ: understanding blank verse | analyzing dramatic poetry | evaluating characterization

STA: 11.2 | R.II-2 TOP: Unit 5 | Part 1 | Birches KEY: characterization | Birches

46. ANS: C PTS: 1 DIF: A REF: p. 709

OBJ: understanding blank verse | analyzing dramatic poetry | evaluating characterization

STA: 11.1 | R.I-1 TOP: Unit 5 | Part 1 | Birches KEY: characterization | Birches

47. ANS: A PTS: 1 DIF: A REF: p. 709

OBJ: understanding blank verse | analyzing dramatic poetry | evaluating characterization

STA: 11.1 | R.II-1 TOP: Unit 5 | Part 1 | Birches KEY: characterization | Birches

48. ANS: C PTS: 1 DIF: A REF: p. 709

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | Birches KEY: vocabulary | Birches

49. ANS: B PTS: 1 DIF: A REF: p. 709

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | Birches KEY: vocabulary | Birches

50. ANS: A PTS: 1 DIF: A REF: p. 709

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | Birches KEY: vocabulary | Birches

51. ANS: C PTS: 1 DIF: A REF: p. 685

OBJ: compare and contrast authors' messages STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Eating Poetry and beware: do not read this poem

KEY: figurative language | Eating Poetry and beware: do not read this poem

52. ANS: A PTS: 1 DIF: A REF: p. 685

OBJ: compare and contrast authors' messages | analyze historical context | compare literary trend | compare works from different eras that address similar themes STA: 11.1 | R.I-1

TOP: Unit 5 | Part 1 | Eating Poetry and beware: do not read this poem

KEY: tone | Eating Poetry and beware: do not read this poem

53. ANS: D PTS: 1 DIF: A REF: p. 685

OBJ: compare and contrast authors' messages | analyze historical context | compare literary trend | compare works from different eras that address similar themes STA: 11.1 | R.I-1

TOP: Unit 5 | Part 1 | Eating Poetry and beware: do not read this poem

KEY: analysis | Eating Poetry and beware: do not read this poem

54. ANS: A PTS: 1 DIF: A REF: p. 685

OBJ: compare and contrast authors' messages | analyze historical context | compare literary trend | compare works from different eras that address similar themes STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Eating Poetry and beware: do not read this poem

KEY: metaphor | Eating Poetry and beware: do not read this poem

55. ANS: C PTS: 1 DIF: C REF: p. 685

OBJ: compare and contrast authors' messages | analyze historical context | compare literary trend | compare works from different eras that address similar themes STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Eating Poetry and beware: do not read this poem

KEY: symbolism | Eating Poetry and beware: do not read this poem

56. ANS: A PTS: 1 DIF: C REF: p. 685

OBJ: compare and contrast authors' messages | analyze historical context | compare literary trend | compare works from different eras that address similar themes STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Eating Poetry and beware: do not read this poem

KEY: symbolism | Eating Poetry and beware: do not read this poem

57. ANS: B PTS: 1 DIF: A REF: p. 686

OBJ: compare and contrast authors' messages | analyze historical context | compare literary trend | compare works from different eras that address similar themes STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Eating Poetry and beware: do not read this poem

KEY: author's messages | Eating Poetry and beware: do not read this poem

58. ANS: D PTS: 1 DIF: A REF: p. 687

OBJ: compare and contrast authors' messages | analyze historical context | compare literary trend | compare works from different eras that address similar themes STA: 11.1 | R.II-3

TOP: Unit 5 | Part 1 | Eating Poetry and beware: do not read this poem

KEY: analysis | Eating Poetry and beware: do not read this poem

59. ANS: A PTS: 1 DIF: A REF: p. 687

OBJ: compare and contrast authors' messages | analyze historical context | compare literary trend | compare works from different eras that address similar themes STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Eating Poetry and beware: do not read this poem

KEY: author's purpose | Eating Poetry and beware: do not read this poem

60. ANS: C PTS: 1 DIF: A REF: p. 687

OBJ: compare and contrast authors' messages | analyze historical context | compare literary trend | compare works from different eras that address similar themes STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Eating Poetry and beware: do not read this poem

KEY: onomatopoeia | Eating Poetry and beware: do not read this poem

61. ANS: C PTS: 1 DIF: A REF: p. 687

OBJ: compare and contrast authors' messages | analyze historical context | compare literary trend | compare works from different eras that address similar themes STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Eating Poetry and beware: do not read this poem

KEY: figurative language | Eating Poetry and beware: do not read this poem

62. ANS: B PTS: 1 DIF: A REF: p. 706

OBJ: understanding blank verse | analyzing dramatic poetry STA: 11.1 | R.I-1

TOP: Unit 5 | Part 1 | Mending Wall KEY: analysis | Mending Wall

63. ANS: A PTS: 1 DIF: A REF: p. 706

OBJ: understanding blank verse | analyzing dramatic poetry STA: 11.1 | R.I-1

TOP: Unit 5 | Part 1 | Mending Wall KEY: analysis | Mending Wall

64. ANS: D PTS: 1 DIF: A REF: p. 707

OBJ: understanding blank verse | analyzing dramatic poetry STA: 11.1 | R.I-1

TOP: Unit 5 | Part 1 | Mending Wall KEY: setting | Mending Wall

65. ANS: C PTS: 1 DIF: A REF: p. 707

OBJ: understanding blank verse STA: 11.1 | R.I-1 TOP: Unit 5 | Part 1 | Mending Wall

KEY: poetry | Mending Wall

66. ANS: A PTS: 1 DIF: C REF: p. 707

STA: 11.2 | R.II-2 TOP: Unit 5 | Part 1 | Mending Wall KEY: style | Mending Wall

67. ANS: C PTS: 1 DIF: A REF: p. 707

OBJ: understanding blank verse | analyzing dramatic poetry STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Mending Wall KEY: metaphor | figurative language | Mending Wall

68. ANS: A PTS: 1 DIF: C REF: p. 707

OBJ: understanding blank verse | comparing and contrasting speakers | analyzing dramatic poetry | evaluating characterization STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | Mending Wall

KEY: figurative language | Mending Wall

69. ANS: C PTS: 1 DIF: A REF: p. 707

OBJ: comparing and contrasting speakers | analyzing dramatic poetry | evaluating characterization

STA: 11.1 | R.I-2 TOP: Unit 5 | Part 1 | Mending Wall KEY: analysis | Mending Wall

70. ANS: B PTS: 1 DIF: A REF: p. 707

OBJ: analyzing dramatic poetry STA: 11.1 | R.I-1 TOP: Unit 5 | Part 1 | Mending Wall

KEY: poetry | Mending Wall

71. ANS: D PTS: 1 DIF: A REF: p. 707

OBJ: understanding blank verse | comparing and contrasting speakers | analyzing dramatic poetry | evaluating characterization STA: 11.1 | R.II-2 TOP: Unit 5 | Part 1 | Mending Wall

KEY: figurative language | Mending Wall

72. ANS: B PTS: 1 DIF: C REF: p. 707

OBJ: understanding blank verse | analyzing dramatic poetry STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Mending Wall KEY: metaphor | figurative language | Mending Wall

73. ANS: A PTS: 1 DIF: A REF: p. 707

OBJ: understanding blank verse | analyzing dramatic poetry STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Mending Wall KEY: analysis | Mending Wall

74. ANS: A PTS: 1 DIF: A REF: p. 725

OBJ: read to enhance understanding of history and American cultures | analyze the influences of historical context that shape elements of a literary work STA: 11.3 | R.I-1

TOP: Unit 5 | Part 1 | Remarks at Amherst College

KEY: theme | Remarks at Amherst College

75. ANS: C PTS: 1 DIF: A REF: p. 726

OBJ: read to enhance understanding of history and American cultures | analyze the influences of historical context that shape elements of a literary work | connect a literary work | including character | plot | and setting to the historical context STA: 11.3 | R.I-1

TOP: Unit 5 | Part 1 | Remarks at Amherst College

KEY: theme | Remarks at Amherst College

76. ANS: B PTS: 1 DIF: A REF: p. 726

OBJ: read to enhance understanding of history and American cultures | analyze the influences of historical context that shape elements of a literary work | connect a literary work | including character | plot | and setting to the historical context STA: 11.3.2 | R.II-1

TOP: Unit 5 | Part 1 | Remarks at Amherst College

KEY: author's purpose | Remarks at Amherst College

77. ANS: B PTS: 1 DIF: A REF: p. 727

STA: 11.2 | 11.3 | R.III-3 TOP: Unit 5 | Part 1 | Remarks at Amherst College

KEY: figurative language | metonymy | Remarks at Amherst College

78. ANS: A PTS: 1 DIF: A REF: p. 727

OBJ: read to enhance understanding of history and American cultures

STA: 11.3.2 | R.II-2 TOP: Unit 5 | Part 1 | Remarks at Amherst College

KEY: analysis | Remarks at Amherst College

79. ANS: C PTS: 1 DIF: A REF: p. 727

OBJ: read to enhance understanding of history and American cultures

STA: 11.3 | R.I-1 TOP: Unit 5 | Part 1 | Remarks at Amherst College

KEY: analysis | Remarks at Amherst College

80. ANS: C PTS: 1 DIF: C REF: p. 728

OBJ: read to enhance understanding of history and American cultures | analyze the influences of historical context that shape elements of a literary work | connect a literary work | including character | plot | and setting to the historical context STA: 11.1.1 | 11.3

TOP: Unit 5 | Part 1 | Remarks at Amherst College

KEY: style | theme | Remarks at Amherst College

81. ANS: D PTS: 1 DIF: A REF: p. 727

OBJ: read to enhance understanding of history and American cultures | analyze the influences of historical context that shape elements of a literary work | connect a literary work | including character | plot | and setting to the historical context STA: 11.3 | R.I-1

TOP: Unit 5 | Part 1 | Remarks at Amherst College

KEY: figurative language | Remarks at Amherst College

82. ANS: D PTS: 1 DIF: A REF: p. 727

STA: 11.1.1 | 11.3 TOP: Unit 5 | Part 1 | Remarks at Amherst College

KEY: poetry | Remarks at Amherst College

83. ANS: B PTS: 1 DIF: A REF: p. 727

OBJ: read to enhance understanding of history and American cultures | analyze the influences of historical context that shape elements of a literary work | connect a literary work | including character | plot | and setting to the historical context STA: 11.3 | R.I-1

TOP: Unit 5 | Part 1 | Remarks at Amherst College

KEY: figurative language | Remarks at Amherst College

84. ANS: A PTS: 1 DIF: A REF: p. 728

OBJ: read to enhance understanding of history and American cultures

STA: 11.3.2 | R.II-2 TOP: Unit 5 | Part 1 | Remarks at Amherst College

KEY: analysis | Remarks at Amherst College

85. ANS: C PTS: 1 DIF: A REF: p. 696

OBJ: understanding style STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | somewhere i have never travelled | gladly beyond

KEY: style | somewhere i have never travelled | gladly beyond

86. ANS: A PTS: 1 DIF: A REF: p. 696

OBJ: understanding style STA: 11.1.2 | R.III-2

TOP: Unit 5 | Part 1 | somewhere i have never travelled | gladly beyond

KEY: style | somewhere i have never travelled | gladly beyond

87. ANS: C PTS: 1 DIF: A REF: p. 696

OBJ: understanding style STA: 11.2.4 | R.III-3

TOP: Unit 5 | Part 1 | somewhere i have never travelled | gladly beyond

KEY: rhyme scheme | somewhere i have never travelled | gladly beyond

88. ANS: B PTS: 1 DIF: A REF: p. 696

OBJ: understanding style STA: 11.5 | R.III-2

TOP: Unit 5 | Part 1 | somewhere i have never travelled | gladly beyond

KEY: style | somewhere i have never travelled | gladly beyond

89. ANS: C PTS: 1 DIF: C REF: p. 696

OBJ: relating literature to the historical period | understanding style

STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | somewhere i have never travelled | gladly beyond

KEY: figurative language | somewhere i have never travelled | gladly beyond

90. ANS: B PTS: 1 DIF: C REF: p. 696

OBJ: understanding style STA: 11.1.2 | 11.5 | R.III-2

TOP: Unit 5 | Part 1 | somewhere i have never travelled | gladly beyond

KEY: style | somewhere i have never travelled | gladly beyond

91. ANS: D PTS: 1 DIF: A REF: p. 696

OBJ: understanding style STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | somewhere i have never travelled | gladly beyond

KEY: metaphor | figurative language | somewhere i have never travelled | gladly beyond

92. ANS: D PTS: 1 DIF: A REF: p. 696

OBJ: understanding style STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | somewhere i have never travelled | gladly beyond

KEY: figurative language | somewhere i have never travelled | gladly beyond

93. ANS: A PTS: 1 DIF: C REF: p. 696

OBJ: understanding style STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | somewhere i have never travelled | gladly beyond

KEY: imagery | somewhere i have never travelled | gladly beyond

94. ANS: C PTS: 1 DIF: A REF: p. 696

OBJ: understanding style STA: 11.1 | R.III-2

TOP: Unit 5 | Part 1 | somewhere i have never travelled | gladly beyond

KEY: mood | somewhere i have never travelled | gladly beyond

95. ANS: A PTS: 1 DIF: A REF: p. 696

OBJ: understanding style STA: 11.2 | R.I-1

TOP: Unit 5 | Part 1 | somewhere i have never travelled | gladly beyond

KEY: style | somewhere i have never travelled | gladly beyond

96. ANS: C PTS: 1 DIF: A REF: p. 696

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | somewhere i have never travelled | gladly beyond

KEY: vocabulary | somewhere i have never travelled | gladly beyond

97. ANS: A PTS: 1 DIF: A REF: p. 711

STA: 11.2.4 | R.III-3 TOP: Unit 5 | Part 1 | Stopping by Woods on a Snowy Evening

KEY: rhyme scheme | Stopping by Woods on a Snowy Evening

98. ANS: D PTS: 1 DIF: C REF: p. 711

OBJ: analyzing dramatic poetry STA: 11.1 | R.III-2

TOP: Unit 5 | Part 1 | Stopping by Woods on a Snowy Evening

KEY: setting | Stopping by Woods on a Snowy Evening

99. ANS: B PTS: 1 DIF: A REF: p. 711

STA: 11.1 | R.II-2 TOP: Unit 5 | Part 1 | Stopping by Woods on a Snowy Evening

KEY: analysis | Stopping by Woods on a Snowy Evening

100. ANS: D PTS: 1 DIF: A REF: p. 711

OBJ: analyzing dramatic poetry STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | Stopping by Woods on a Snowy Evening

KEY: alliteration | Stopping by Woods on a Snowy Evening

101. ANS: B PTS: 1 DIF: A REF: p. 711

OBJ: analyzing dramatic poetry STA: 11.1 | R.II-2

TOP: Unit 5 | Part 1 | Stopping by Woods on a Snowy Evening

KEY: analysis | Stopping by Woods on a Snowy Evening

102. ANS: C PTS: 1 DIF: C REF: p. 711

OBJ: analyzing dramatic poetry STA: 11.1 | R.II-1

TOP: Unit 5 | Part 1 | Stopping by Woods on a Snowy Evening

KEY: theme | Stopping by Woods on a Snowy Evening

103. ANS: A PTS: 1 DIF: A REF: p. 711

OBJ: relating literature to the historical period | understanding blank verse | comparing and contrasting speakers | analyzing dramatic poetry | evaluating characterization

STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | Stopping by Woods on a Snowy Evening

KEY: description | figurative language | Stopping by Woods on a Snowy Evening

104. ANS: B PTS: 1 DIF: C REF: p. 711

OBJ: understanding dramatic poetry STA: 11.1 | R.I-1

TOP: Unit 5 | Part 1 | Stopping by Woods on a Snowy Evening

KEY: theme | Stopping by Woods on a Snowy Evening

105. ANS: D PTS: 1 DIF: C REF: p. 711

OBJ: analyzing dramatic poetry STA: 11.2.4 | R.III-3

TOP: Unit 5 | Part 1 | Stopping by Woods on a Snowy Evening

KEY: theme | Stopping by Woods on a Snowy Evening

106. ANS: C PTS: 1 DIF: A REF: p. 715

OBJ: understanding blank verse | analyzing dramatic poetry STA: 11.1 | R.I-2

TOP: Unit 5 | Part 1 | The Death of the Hired Man

KEY: analysis | The Death of the Hired Man

107. ANS: A PTS: 1 DIF: A REF: p. 715

OBJ: analyzing dramatic poetry STA: 11.1 | R.II-3

TOP: Unit 5 | Part 1 | The Death of the Hired Man

KEY: characterization | The Death of the Hired Man

108. ANS: D PTS: 1 DIF: A REF: p. 716

OBJ: analyzing dramatic poetry STA: 11.1 | R.I-1

TOP: Unit 5 | Part 1 | The Death of the Hired Man

KEY: analysis | “The Death of the Hired Man”

109. ANS: A PTS: 1 DIF: A REF: p. 716

OBJ: understanding blank verse | analyzing dramatic poetry | evaluating characterization

STA: 11.1 | R.I-1 TOP: Unit 5 | Part 1 | The Death of the Hired Man

KEY: characterization | “The Death of the Hired Man”

110. ANS: D PTS: 1 DIF: A REF: p. 717

OBJ: understanding blank verse | analyzing dramatic poetry | evaluating characterization

STA: 11.1 | R.I-1 TOP: Unit 5 | Part 1 | The Death of the Hired Man

KEY: characterization | “The Death of the Hired Man”

111. ANS: C PTS: 1 DIF: A REF: p. 717

OBJ: understanding blank verse | comparing and contrasting speakers | analyzing dramatic poetry | evaluating characterization STA: 11.1 | R.II-2

TOP: Unit 5 | Part 1 | The Death of the Hired Man

KEY: characterization | “The Death of the Hired Man”

112. ANS: B PTS: 1 DIF: A REF: p. 718

OBJ: understanding blank verse | comparing and contrasting speakers | analyzing dramatic poetry | evaluating characterization STA: 11.1 | R.I-1

TOP: Unit 5 | Part 1 | The Death of the Hired Man

KEY: analysis | “The Death of the Hired Man”

113. ANS: B PTS: 1 DIF: A REF: p. 718

OBJ: understanding blank verse | analyzing dramatic poetry | evaluating characterization

STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | The Death of the Hired Man

KEY: figurative language | simile | The Death of the Hired Man

114. ANS: D PTS: 1 DIF: C REF: p. 719

OBJ: understanding blank verse | analyzing dramatic poetry STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | The Death of the Hired Man

KEY: style | theme | The Death of the Hired Man

115. ANS: A PTS: 1 DIF: A REF: p. 719

OBJ: understanding blank verse STA: 11.1 | R.II-1

TOP: Unit 5 | Part 1 | The Death of the Hired Man KEY: theme | The Death of the Hired Man

116. ANS: C PTS: 1 DIF: A REF: p. 720

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | The Death of the Hired Man

KEY: vocabulary | The Death of the Hired Man

117. ANS: B PTS: 1 DIF: A REF: p. 716

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | The Death of the Hired Man

KEY: vocabulary | The Death of the Hired Man

118. ANS: C PTS: 1 DIF: A REF: p. 658

STA: 11.2.4 | R.III-3 TOP: Unit 5 | Part 1 | The Love Song of J. Alfred Prufrock

KEY: rhyme scheme | The Love Song of J. Alfred Prufrock

119. ANS: D PTS: 1 DIF: C REF: p. 659

OBJ: understanding dramatic monologue STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | The Love Song of J. Alfred Prufrock

KEY: symbolism | The Love Song of J. Alfred Prufrock

120. ANS: A PTS: 1 DIF: A REF: p. 659

OBJ: analyzing visual images STA: 11.1 | R.I-1

TOP: Unit 5 | Part 1 | The Love Song of J. Alfred Prufrock

KEY: characterization | The Love Song of J. Alfred Prufrock

121. ANS: B PTS: 1 DIF: C REF: p. 660

OBJ: analyzing visual images | understanding dramatic monologue | writing a character analysis

STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | The Love Song of J. Alfred Prufrock

KEY: characterization | The Love Song of J. Alfred Prufrock

122. ANS: A PTS: 1 DIF: C REF: p. 659

OBJ: understanding dramatic monologue | writing a character analysis

STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | The Love Song of J. Alfred Prufrock

KEY: poetry | The Love Song of J. Alfred Prufrock

123. ANS: D PTS: 1 DIF: C REF: p. 660

OBJ: analyzing visual images | understanding dramatic monologue

STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | The Love Song of J. Alfred Prufrock

KEY: imagery | poetry | The Love Song of J. Alfred Prufrock

124. ANS: B PTS: 1 DIF: C REF: p. 661

OBJ: analyzing visual images STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | The Love Song of J. Alfred Prufrock

KEY: repetition | figurative language | symbolism | The Love Song of J. Alfred Prufrock

125. ANS: B PTS: 1 DIF: A REF: p. 660

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | The Love Song of J. Alfred Prufrock

KEY: vocabulary | The Love Song of J. Alfred Prufrock

126. ANS: C PTS: 1 DIF: A REF: p. 662

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | The Love Song of J. Alfred Prufrock

KEY: vocabulary | The Love Song of J. Alfred Prufrock

127. ANS: A PTS: 1 DIF: A REF: p. 658

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | The Love Song of J. Alfred Prufrock

KEY: vocabulary | The Love Song of J. Alfred Prufrock

128. ANS: A PTS: 1 DIF: A REF: p. 659

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | The Love Song of J. Alfred Prufrock

KEY: vocabulary | The Love Song of J. Alfred Prufrock

129. ANS: C PTS: 1 DIF: A REF: p. 660

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | The Love Song of J. Alfred Prufrock

KEY: vocabulary | The Love Song of J. Alfred Prufrock

130. ANS: D PTS: 1 DIF: A REF: p. 668

OBJ: recognizing an author's purpose STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | The Red Wheelbarrow and This Is Just to Say

KEY: poetry | The Red Wheelbarrow and This is Just to Say

131. ANS: B PTS: 1 DIF: C REF: p. 668

OBJ: analyzing form | recognizing an author's purpose STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | The Red Wheelbarrow and This Is Just to Say

KEY: imagery | The Red Wheelbarrow and This is Just to Say

132. ANS: A PTS: 1 DIF: C REF: p. 668

OBJ: analyzing form | recognizing an author's purpose STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | The Red Wheelbarrow and This Is Just to Say

KEY: poetry | The Red Wheelbarrow and This is Just to Say

133. ANS: C PTS: 1 DIF: A REF: p. 668

OBJ: analyzing form | recognizing an author's purpose STA: 11.2 | R.III-3

TOP: Unit 5 | Part 1 | The Red Wheelbarrow and This Is Just to Say

KEY: imagery | The Red Wheelbarrow and This is Just to Say

134. ANS: C PTS: 1 DIF: C REF: p. 668

OBJ: analyzing form | recognizing an author's purpose STA: 11.1.2 | 11.5

TOP: Unit 5 | Part 1 | The Red Wheelbarrow and This Is Just to Say

KEY: style | The Red Wheelbarrow and This is Just to Say

135. ANS: A PTS: 1 DIF: C REF: p. 669

OBJ: analyzing literary periods STA: 11.1 | R.II-2

TOP: Unit 5 | Part 1 | The Red Wheelbarrow and This Is Just to Say

KEY: characterization | The Red Wheelbarrow and This is Just to Say

136. ANS: B PTS: 1 DIF: C REF: p. 669

OBJ: analyzing literary periods | analyzing form | recognizing an author's purpose

STA: 11.1 | R.II-5 TOP: Unit 5 | Part 1 | The Red Wheelbarrow and This Is Just to Say

KEY: theme | The Red Wheelbarrow and This is Just to Say

137. ANS: D PTS: 1 DIF: A REF: p. 669

OBJ: analyzing literary periods | analyzing form | recognizing an author's purpose

STA: 11.2 | R.III-3 TOP: Unit 5 | Part 1 | The Red Wheelbarrow and This Is Just to Say

KEY: sensory details | The Red Wheelbarrow and This is Just to Say

138. ANS: B PTS: 1 DIF: A REF: p. 668

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | The Red Wheelbarrow and This Is Just to Say

KEY: vocabulary | The Red Wheelbarrow and This is Just to Say

139. ANS: A PTS: 1 DIF: A REF: p. 668

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | The Red Wheelbarrow and This Is Just to Say

KEY: vocabulary | The Red Wheelbarrow and This is Just to Say

140. ANS: A PTS: 1 DIF: A REF: p. 669

OBJ: expanding vocabulary STA: 11.6 | R.IV-1

TOP: Unit 5 | Part 1 | The Red Wheelbarrow and This Is Just to Say

KEY: vocabulary | The Red Wheelbarrow and This is Just to Say

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