Copy of Reading Comprehension Assessment II ELA 20-1 Fall 2022
docx
keyboard_arrow_up
School
Millwoods Christian School *
*We aren’t endorsed by this school
Course
20
Subject
Arts Humanities
Date
Nov 24, 2024
Type
docx
Pages
19
Uploaded by CorporalThunder8499
ELA 20-1
Assessment Tool 1.5
Version D
Part B: Shakespeare and
Indigenous Content Reading
Comprehension Quiz
The Winter’s Tale
Act 2, scene 1
Synopsis:
(Significant lines have been marked and bolded for you.)
Scene 1
Enter Leontes, Antigonus, and Lords.
LEONTES Was he met there? His train? Camillo with him?
LORD Behind the tuft of pines I met them. Never
Saw I men scour so on their way. I eyed them
Even to their ships.
Line 5 LEONTES How blest am I
In my just censure, in my true opinion!
Line 7 Alack, for lesser knowledge! How accursed
Line 8 In being so blest! There may be in the cup
Line 9 A spider steeped, and one may drink, depart,
Line 10 And yet partake no venom, for his knowledge
Line 11 Is not infected; but if one present
Th’ abhorred ingredient to his eye, make known
How he hath drunk, he cracks his gorge, his sides,
With violent hefts. I have drunk, and seen the spider.
Camillo was his help in this, his pander.
There is a plot against my life, my crown.
All’s true that is mistrusted. That false villain
Whom I employed was pre-employed by him.
He has discovered my design, and I
Line 20 Remain a pinched thing, yea, a very trick
Line 21 For them to play at will. How came the posterns
Line 22 So easily open?
Line 23 LORD By his great authority,
Line 24 Which often hath no less prevailed than so
Line 25 On your command.
LEONTES I know ’t too well.
To Hermione. Give me the boy. I am glad you did
not nurse him.
Though he does bear some signs of me, yet you
Have too much blood in him.
HERMIONE What is this? Sport?
LEONTES
, to the Ladies
Bear the boy hence. He shall not come about her.
Away with him, and let her sport herself
With that she’s big with,
(
to Hermione
) for ’tis
Polixenes
Has made thee swell thus.
A Lady exits with Mamillius.
HERMIONE But I’d say he had not,
And I’ll be sworn you would believe my saying,
Howe’er you lean to th’ nayward.
LEONTES You, my lords,
Look on her, mark her well. Be but about
To say “She is a goodly lady,” and
The justice of your hearts will thereto add
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
- Unlimited textbook solutions
- 24/7 expert homework help
“’Tis pity she’s not honest, honorable.”
Praise her but for this her without-door form,
Which on my faith deserves high speech, and
straight
The shrug, the “hum,” or “ha,” these petty brands
That calumny doth use—O, I am out,
That mercy does, for calumny will sear
Virtue itself—these shrugs, these “hum”s and “ha”s,
Line 57 When you have said she’s goodly, come between
Ere you can say she’s honest. But be ’t known,
From him that has most cause to grieve it should be,
She’s an adult’ress.
HERMIONE Should a villain say so,
The most replenished villain in the world,
He were as much more villain. You, my lord,
Do but mistake.
LEONTES You have mistook, my lady,
Line 66 Polixenes for Leontes. O thou thing,
Which I’ll not call a creature of thy place
Lest barbarism, making me the precedent,
Should a like language use to all degrees,
And mannerly distinguishment leave out
Betwixt the prince and beggar.—I have said
She’s an adult’ress; I have said with whom.
More, she’s a traitor, and Camillo is
A federary with her, and one that knows
What she should shame to know herself
But with her most vile principal: that she’s
A bed-swerver, even as bad as those
That vulgars give bold’st titles; ay, and privy
To this their late escape.
Line 80 HERMIONE No, by my life,
Privy to none of this. How will this grieve you,
When you shall come to clearer knowledge, that
You thus have published me! Gentle my lord,
You scarce can right me throughly then to say
Line 85 You did mistak
e.
LEONTES No. If I mistake
In those foundations which I build upon,
The center is not big enough to bear
A schoolboy’s top.—Away with her to prison.
He who shall speak for her is afar off guilty
But that he speaks.
Line 92 HERMIONE There’s some ill planet reigns.
I must be patient till the heavens look
With an aspect more favorable. Good my lords,
I am not prone to weeping, as our sex
Commonly are, the want of which vain dew
Perchance shall dry your pities. But I have
That honorable grief lodged here which burns
Worse than tears drown. Beseech you all, my lords,
With thoughts so qualified as your charities
Shall best instruct you, measure me; and so
Line 102 The King’s will be performed.
LEONTES Shall I be heard?
Line 104 HERMIONE Who is ’t that goes with me? Beseech your Highness
My women may be with me, for you see
My plight requires it.—Do not weep, good fools;
There is no cause. When you shall know your
mistress
Has deserved prison, then abound in tears
As I come out. This action I now go on
Is for my better grace.—Adieu, my lord.
I never wished to see you sorry; now
Line 113 I trust I shall.—My women, come; you have leav
e.
LEONTES Go, do our bidding. Hence!
Hermione exits, under guard, with her Ladies.
1. When Leontes declares that he is blessed (line 5) and then adds "How accurs'd / Is being so blest!" (lines 7- 8), he means that he feels cursed by the A.
responsibilities of his noble birth B. uncertainty of Polixenes' departure C. threat to Hermione's health D. confirmation of his suspicions 2. Leontes' description of the spider in the cup in lines 8-11 implies that A. ignorance presents no threats B. foreign ingredients are infectious C. villains are always trying to do harm D. poisonous objects are in everyday places 3. The palace gates were opened for Polixenes (lines 21-25), allowing his escape, because of his A. publicized departure B. deceitful friendship
C. cunning trickery D. recognized status 4. Leontes' first punitive act against his wife is to A.
send her to prison B. deprive her of her Crown C. publicly denounce her honor D. take away her son 5. Hermione reveals that she does not understand the implication of Leontes' comments when she says
A. "But I'd say he had not" (line 35) B. "Privy to none of this" (line 73) C. "What is this? Sport?" (line 30) D. "Should a villain say so" (line 53) 6. In lines 57 to 63, Leontes claims to base his restraint on his A. refusal to acknowledge the differences between royalty and commoners B. refusal to set an example with words that would equal the example of Hermione's behavior C. inability to find words forceful enough to describe the degree of his displeasure D.
reluctance to demonstrate unkindness toward Hermione 7. Hermione's response (lines 80-85) to Leontes' accusations of her being an adulteress and a traitor reveals that her first concern is for A. her public image B. the political confusion that Leontes is creating C. Leontes' distress when he realizes his error D. her own safety 8. In lines 92 to 102, Hermione attributes the cause of Leontes' state of mind to A. Leontes' bad temper B. astrological influences C. political upheaval D.
Camillo's betrayal
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
- Unlimited textbook solutions
- 24/7 expert homework help
9. In lines 92 to 102, Hermione acknowledges that A. her not weeping may result in her receiving less sympathy B. women believe that weeping will erase guilt C. women do not realize that weeping will elicit sympathy D.
she is too vain to weep 10. Hermione's instructions to her attendants (lines 104-113) reveal her attitude of
A. timidity B. shame C.
resolve D. anger 11. The lines that most directly convey that Hermione's dignity matches the depth of her pain are A. "You scarce can right me throughly then to say / You did mistake" (lines 76-77) B. "I never wish'd to see you sorry; now/ I trust I shall" (lines 103- 104) C. "I have/ That honourable grief lodg'd here which bums/ Worse than tears drown" (lines 89-
91) D. "With thoughts so qualified as your charities / Shall best instruct you, measure me" (lines 92-
93) Excerpt from The Inconvenient Indian
by Thomas King
1 About fifteen years back, a bunch of us got together to form a drum group. John Samosi, one of our lead singers, suggested we call ourselves “The Pesky Redskins.” Since we couldn’t sing all that well, John argued, we needed a name that would 5 make people smile and encourage them to overlook our musical deficiencies.We eventually settled on the Waa-Chi-Waasa Singers, which was a more stately name. Sandy Benson came up with it, and as I remember, waa-chi-waasa is Ojibway for “far away.” Appropriate enough, since most of the boys who sit around the drum here in 10 Guelph, Ontario, come from somewhere other than here. John’s from Saskatoon. Sandy calls Rama home. Harold Rice was raised on the coast of British Columbia. Mike Duke’s home community is near London, Ontario. James Gordon is originally from Toronto. I hail from California’s central valley, while my son
15 Benjamin was born in Lethbridge, Alberta, and was dragged around North America with his older brother and younger sister. I
don’t know where he considers home to be.
Anishinaabe, Métis, Coastal Salish, Cree, Cherokee. We have nothing much in common. We’re all Aboriginal and we have the
20
drum. That’s about it.
I had forgotten about “Pesky Redskins” but it must have been kicking around in my brain because, when I went looking for a title for this book, something with a bit of irony to it, there it was.
Pesky Redskins: A Curious History of Indians in North America.
25 Problem was, no one else liked the title. Several people I trust told me that Pesky Redskins sounded too flip and, in the end, I had to agree. Native people haven’t been so much pesky as we’ve been . . . inconvenient. So I changed the title to The Inconvenient Indian: A Curious History of Native People in North
30 America
, at which point my partner, Helen Hoy, who teaches English at the University of Guelph, weighed in, cautioning that “history” might be too grand a word for what I was attempting. Benjamin, who is finishing a Ph.D. in History at Stanford, agreed with his mother and pointed out that if I was to call the book a
35
history, I would be obliged to pay attention to the demands of scholarship and work within an organized and clearly
delineated chronology.
Now, it’s not that I think such things as chronologies are a bad idea, but I’m somewhat attached to the Ezra Pound School of 40 History. While not subscribing to his political beliefs, I do agree with Pound that “We do NOT know the past in chronological sequence. It may be convenient to lay it out anesthetized on the table with dates pasted on here and there, but what we know we know by ripples and spirals eddying out from us and from our own time.”
45 There’s nothing like a good quotation to help a body escape an onerous task. So I tweaked the title one more time, swapped the word “history” for “account,” and settled on The Inconvenient Indian: A Curious Account of Native People in North America
. Mind you, there is a great deal in The Inconvenient Indian
that is
50 history. I’m just not the historian you had in mind. While it might not show immediately, I have a great deal of respect for the discipline of history. I studied history as part of my doctoral work
in English and American Studies at the University of Utah. I even worked at the American West Center on that campus when 55 Floyd O’Neil and S. Lyman Tyler ran the show, and, over the years, I’ve met and talked with other historians such as Brian Dippie, Richard White, Patricia Limerick, Jean O’Brien, Vine Deloria, Jr., Francis Paul Prucha, David Edmunds, Olive Dickason, Jace Weaver, Donald Smith, Alvin Josephy, Ken 60 Coates, and Arrel Morgan Gibson, and we’ve had some very stimulating conversations about . . . history. And in consideration of those conversations and the respect that I have for history, I’ve salted my narrative with those things we call facts, even though we should know by now that facts will not save us.
65 Truth be known, I prefer fiction. I dislike the way facts try to thrust themselves upon me. I’d rather make up my own world. Fictions are less unruly than histories. The beginnings are more engaging, the characters more co-operative, the endings more in line with expectations of morality and justice. This is not to imply
70 that fiction is exciting and that history is boring. Historical narratives can be as enchanting as a Stephen Leacock satire or as terrifying as a Stephen King thriller.
Still, for me at least, writing a novel is buttering warm toast, while writing a history is herding porcupines with your elbows.
75 As a result, although The Inconvenient Indian is fraught with history, the underlying narrative is a series of conversations and arguments that I’ve been having with myself and others for most of my adult life, and if there is any methodology in my approach to the subject, it draws more on storytelling techniques than 80 historiography. A good historian would have tried to keep biases under control. A good historian would have tried to keep personal anecdotes in check. A good historian would have provided footnotes.
I have not.
85 And, while I’m making excuses, I suppose I should also apologize if my views cause anyone undue distress. But I hope we can agree that any discussion of Indians in North America is likely to conjure up a certain amount of rage. And sorrow. Along with moments of irony and humour.
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
- Unlimited textbook solutions
- 24/7 expert homework help
90 When I was a kid, Indians were Indians. Sometimes Indians were Mohawks or Cherokees or Crees or Blackfoot or Tlingits or Seminoles. But mostly they were Indians. Columbus gets blamed for the term, but he wasn’t being malicious. He was looking for India and thought he had found it. He was mistaken, of course
95 and as time went on, various folks and institutions tried to make the matter right. Indians became Amerindians and Aboriginals and Indigenous People and American Indians. Lately, Indians have become First Nations in Canada and Native Americans in the United
States, but the fact of the matter is that
100
there has never been a good collective noun because there never was a collective to begin with.
I’m not going to try to argue for a single word. I don’t see that one term is much better or worse than another. “First Nations” is the current term of choice in Canada, while “Native Americans” is 105 the fashionable preference in the United States. I’m fond of both of these terms, but, for all its faults and problems—especially in Canada—“Indian,” as a general designation, remains for me, at least, the North American default.
Terminology is always a rascal. I’ve tried to use “reservations” for 110 Native communities in the United States and “reserves” for Native communities in Canada, and “tribes” for Native groups in the United States and “bands” for Native groups in Canada. But in a number of instances, when I’m talking about both sides of the border, I might use “reservation” or “reserve” and “band” or 115 “tribe” or “Nation,” depending on rhythm and syntax. I actually prefer “Nation” or a specific band or tribal name, and I try to use this whenever possible.
And Whites. Well, I struggled with this one. A Japanese friend of mine likes to call Anglos “crazy Caucasoids,” while another friend 120 told me that if I was going to use the term “Indians” I should call everyone else “cowboys.” Both of these possibilities are fun, but there are limits to satire. Besides, “Whites” is a perfectly serviceable term. Native people have been using it for years, sometimes as a description and sometimes as something else. 125 Let’s agree that within the confines of this book the term is neutral and refers to a general group of people as diverse and
indefinable as “Indians.”
In the end, I’m not so much concerned with designing a strict vocabulary as I am with crafting a coherent and readable 130 narrative. I don’t talk about European explorers and their early relationships with Native people. I spend a great deal of time on Native people and film, because film, in all its forms, has been the only place where most North Americans have seen Indians. When we look at Native–non-Native relations, there is no great 135 difference between the past and the present. While we have dispensed with guns and bugles, and while North America’s sense of its own superiority is better hidden, its disdain muted, twenty-first-century attitudes towards Native people are remarkably similar to those of the previous centuries. 12. In context, the details relating where the men in the band are from (lines 9-17), serve to depict the
A. expressiveness and versatility of the Ojibway language.
B.
vigorous nature of the people’s response to recent events.
C.
narrator’s general lack of confidence in their musical ability.
D.
diversity of First Nations cultures across North America.
13.
In lines 25-27, when the narrator states “
Problem was, no one else liked the title. Several people I trust told me that Pesky Redskins sounded too flip and, in the end, I had to agree.”
He
is struggling to A.
avoid derogatory stereotypes or hackneyed images.
B.
find a respectful and accurate name for his group.
C.
create an image which is not damning or condemning.
D.
provide a sense of unity and purpose for his group.
14. “Native people haven’t been so much pesky as we’ve been . . . inconvenient. So I changed the title to The Inconvenient Indian...” The change in the diction “Pesky Redskins”
to “Inconvenient Indian” results primarily in a shift in A.
perspective from individual to group. B.
historical perspective to contemporary perception. C.
tone and connotation D.
a focus on appearance 15. In lines 30 to 37, the author struggles with the concept of
A. creating historical accuracy. B.
overcoming cultural stereotypes.
C.
meeting the expectations of his audience.
D. depicting the horrors of a past generation.
16. In lines 40 to 44, the author uses the Ezra Pound quote, “We do NOT know the past in chronological sequence. It may be convenient to lay it out anesthetized on the table with dates pasted on here and there, but what we know we know by ripples and spirals eddying out from us and from our own time.” in order to suggest that A.
any discussion of the past only results in trivializing it.
B.
the past does not matter, it is the present which counts.
C.
dates and events in history are relatively meaningless for modern people. D.
the events of the past have significant implications for the future.
17. In lines 73 and 74, when the author states “Still, for me at least, writing a novel is buttering warm toast, while writing a history is herding porcupines with your elbows”, he provides an example of…
A. verbal irony B. metaphor
C. simile
D. understatement
18. The diction, form and structure
of the writing used in the lines 85-97 emphasizes the A.
deadly serious nature of the subject matter at hand.
B.
historical accuracy and scholarly content. C. confusion felt by modern people when interacting with other races.
D. casual nature and conversational tone of the article.
19. Lines 128-134 most strongly
suggest that…
A.
Hollywood has often painted an accurate picture of First Nations Culture.
B.
the author is content with current perceptions of First Nations People.
C.
modern society has a limited perception of First Nations People.
D.
prejudice and ignorance cripple the relationship between the two people groups.
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
- Unlimited textbook solutions
- 24/7 expert homework help
20. The last paragraph suggests that the past relationship between First Nations People and
Caucasians has been
A. marred by mistrust, hostility and military violence.
B.
one of suspicion, but grudging respect.
C. a fertile ground for innovation and cultural assimilation
D. typified by co-operation and working towards shared goals
21. Which of the following statements most effectively expresses the main idea of the excerpt?
A. “
The future holds much promise for First Nations People and White Culture.”
B. “
Anishinaabe, Métis, Coastal Salish, Cree, Cherokee. We have nothing much in common. We’re all Aboriginal and we have the drum. That’s about it.”
C. “
When I was a kid, Indians were Indians.”
D. “
Twenty-first-century attitudes towards Native people are remarkably similar to those of the previous centuries”. Through Time and Bitter Distance
Unknown to you, I walk the cheerless shore.
The cutting blast, the hurl of biting brine
May freeze, and still, and bind the waves at
war,
Ere you will ever know, O! Heart of mine,
That I have sought, reflected in the blue
Of these sea depths, some shadow of your eyes;
Have hoped the laughing waves would sing
of you,
But this is all my starving sight decries -
II
Yields, as a bird wind-tossed,
To saltish waves that fling
Their spray, whose rime and frost
Like crystals cling III
To canvas, mast and spar,
Till, gleaming like a gem,
She sinks beyond the far
Horizon's hem.
I
Far out at sea a sail
Bends to the freshening breeze,
Yields to the rising gale
That sweeps the seas;
IV
Lost to my longing sight,
And nothing left to me
Save an oncoming night, -
An empty sea.
E. Pauline Johnson
The Canadian poet E. Pauline Johnson (1861-1913) was born on the Six Nations Reserve near Brantford, Ontario. The daughter of a Mohawk chief and his English-born wife, Johnson celebrated her First Nations heritage in her poetry. She is the only person to be buried in Stanley Park, British Columbia.
22.The details developed in the first two lines of this poem primarily establish A. a theme of endurance
B. a mood of desolation
C. a sense of time and scale D. a feeling of awe and wonder
23. In the lines “Ere you will ever know, O! Heart of mine,/That I have sought, reflected in the blue/Of these sea depths, some shadow of your eyes” The poet develops the theme of A. grief B. friendship
C. contentment
D. loneliness 24. In the lines “Laughing waves that sing of you”
and “
...saltish waves that fling their spray…
”, the author is employing
A. metaphor
B.
apostrophe
C. anthropomorphism
D.
personification
25. The description of nature in sections I and II of the poem suggests a feeling of
A. dissipating ferocity easing of tension
B. tranquility and gentle grace
C. brooding quietude
D. building tumult and violence
26. Which of the following sets of phrases most clearly illustrates contrasting images
?
A. “
But this is all my starving sight decries -” & “Lost to my longing sight,”.
B. “
The cutting blast, the hurl of biting brine” & “...the rising gale/That sweeps the seas”
C. “
The cutting blast, the hurl of biting brine” & “
To saltish waves that fling/Their spray,” D. “
Far out at sea a sail/Bends to the freshening breeze” & “...an oncoming night/an empty sea”.
27. Which of the following sets of phrases most clearly
illustrates syntactic parallelism
?
A. “
But this is all my starving sight decries -”
& “Lost to my longing sight,”.
B. “
The cutting blast, the hurl of biting brine” & “...the rising gale/That sweeps the seas”
C.
“
The cutting blast, the hurl of biting brine” & “
To saltish waves that fling/Their spray,” D.
“
Far out at sea a sail/Bends to the freshening breeze” & “...an oncoming night/an empty sea”.
The following excerpt is from Richard Wagamese's novel, Indian Horse. Richard Wagamese (1955-2017) was one of Canada’s foremost writers, and one of the leading Indigenous writers in North America. When I hit the ice, I left all of that behind me. I stepped onto the ice and Saul Indian Horse, the abandoned Ojibway kid, clutched in the frozen arms of his dead grandmother, ceased to exist.
Father Leboutilier loved the game more than anybody. When he 5
coached us or watched the televised games, he lost the solemn priestly facade and became a boy again, licking his lips in anticipation. His relish was infectious.
So it didn’t surprise me when he began to show up at my early morning
solo practices. He’d wait until I had scraped the ice clear and done my 10 warm-ups, then lace up his own skates and join me. During those sessions I learned how to transfer what I could see in my head into my feet and my hands. Father Leboutilier taught me how to take a pass on my backhand without looking then switch it to my forehand to take a shot. He taught me how to snap off wrist shots like rockets with fast
15 passes he fed me from behind the net. I learned how to fire accurately off either foot while still in motion and he showed me how my skates could help me handle the puck on the attack. As I demonstrated each new technique, each step up in understanding, the delight on his face
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
- Unlimited textbook solutions
- 24/7 expert homework help
was my reward.
20 “Hockey is like the universe, Saul,” he said one day. “When you stand in the dark and look up at it, you see the placid fire of stars. But if we were right in the heart of it, we’d see chaos. Comets churning by. Meteorites. Star explosions. Things being born, things dying. Chaos, Saul. But that chaos is organized. It’s harnessed. It’s controlled. What
25 you can’t see under all the action, the speed, the mayhem, is the great spirit of this game. That’s what makes you so extraordinary. You have that spirit within you.”
I took his words to heart and I practiced diligently.Our school team played the town team a few more times that winter, and we won handily. Word had gotten around how well we played, and even Father
30 Quinney attended a few games. My vision grew even sharper the more I played. There would always come a moment when the game would swing to me and I would find the puck on my stick. I came to expect that, relied on it.
Winter ended and the rink melted back into the furrows of the field. But
35 I kept getting up early. I began to run. I’d run down the curving gravel road to the bottom of the ridge and then up its harsh slope. When I got to the top I would turn and face the school while I caught my breath, and then I would turn and head through the bush to the lowland, where there was a beaver lodge. I’d watch the vee of swimming beavers, 40 listen to ducks and mergansers, and think about what Father Leboutilier
had said about my underlying spirit.
When I told him what I was doing, he joined me. We ran every morning. He told me how important it was for a player to have strong thighs. He’d been to the Montreal Forum and met the astonishingly fast
45
junior star
Yvan Cournoyer
in the Junior Canadiens’ dressing room.
“His thighs were like loaves of bread. Huge. He even had to have his pants tailored for him. He is the fastest player I have ever seen, Saul.”
We started to do wind sprints up the face of the ridge. Once I could do a dozen in a row, he took me along the ridge to where boulders were 50
thrown in a mad jumble at its base. I ran that talus every day. Leaping and bounding between the rocks was exhilarating, and we made a game
of it. I tapped into the spirit of hockey in those tough training runs.
One day when I was working in the barn, I discovered a sheet of linoleum stuffed in the back of the loft. As I wiped the chaff away, it 55
felt like ice on my palm. I carried it out to the area where the hockey nets were stored and placed it about twenty feet in front of one of them.
Then I took a stick and a puck and began snapping wrist shots at the net. Father Leboutilier ran interference for me with Sister Ignacia and got me free time to practice in the hour before the evening meal. It was 60 a joy to find the game in the heat of summer, and when I saw a workman cutting off sections of three-inch pipe with a welding torch one afternoon, I asked if he could cut me a couple. Those rings weighed
far more than a regular puck and I stickhandled with them and worked on my wrist shot until my wrists and forearms were rock hard.
65 When I showed Father Leboutilier, he laughed.
“Marvellous,” he said and roughed my hair.
28. In context, the word “facade”
in line 6, mostly likely means…
A.
pretense
B.
costume
C. grin
D.
ruse
29. Saul Indian Horse’ statements “the abandoned Ojibway kid, clutched in the frozen arms of his dead grandmother, ceased to exist“
(lines2&3,) and “I tapped into the spirit of hockey in those tough training runs (Line 52)”
indicate that this novel is likely
A.
Speculative fiction which is set in a familiar reality that is twisted or somehow warped because
it couples the familiar and the unfamiliar in an alternate history.
B. Magical realism literature which depicts the real world as having an undercurrent of magic or fantasy, where fantastical elements are considered normal. C. a coming-of-age novel or “Bildungsroman” where the narrator undergoes significant personal transformation.
D. a historical fiction novel which offers a chance to re-examine the past from new angles, or re-
imagine the historical events of a given time period.
30. In lines 20-24, the author uses short, staccato sentences in a technique called “parataxis”. Based on the context of this section, the author likely uses parataxis in order to A. to suspend time and add an element of mystery
B. to speed up the pace and create tension
C.
illustrate a concept marked by disorder
D. confuse and disorient the read
31. When the narrator states that “
Winter ended and the rink melted back into the furrows of
the field. But I kept getting up early. I began to run. I’d run down the curving gravel road to the bottom of the ridge and then up its harsh slope. When I got to the top I would turn and face the school while I caught my breath... ”
(lines 34 to 37 ), he reinforces his presentation of himself as A. a person who needs the praise of others
B. young man troubled by inner demons
C. an individual heavily influenced by others D. a boy who is determined to work through pain
32. In this excerpt, the author uses dialogue
selectively in order to A. create dramatic effect and tension, haste or urgency
B. better understand the internal action of Catholic priest C. explore the impact of adults in the protagonist’s life
D. add verisimilitude and realistic interchanges to the narrative
33. Which of the following statements from the text most effectively expresses the controlling idea?
A. “
As I demonstrated each new technique, each step up in understanding, the delight on his face was my reward.”
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
- Unlimited textbook solutions
- 24/7 expert homework help
B. ‘“
That’s what makes you so extraordinary. You have that spirit within you.” I took his words to heart and I practiced diligently.”
C. “Hockey is like the universe, Saul,” he said one day. “When you stand in the dark and look up at it, you see the placid fire of stars…” D. “His thighs were like loaves of bread. Huge. He even had to have his pants tailored for him. He is the fastest player I have ever seen, Saul.”