Please, fill out the information below to continue. NAME EMAIL PHONE NUMBER 1. .................... is achieved when the audience is made aware of a disparity between the facts of a situation and the characters’ understanding of it.In the question above, select the option that is best.The dissociation of sensibilityComic reliefThe pathetic fallacyDramatic ironyAesthetic distance2. Read the passage belowLet others better mould the running mass Of metals, and inform the breathing brass, And soften into flesh a marble face; Plead better at the bar; describe the skies,And when the stars descend, and when they rise. But, Rome! ’tis thine alone, with awful sway, To rule mankind, and make the world obey, Disposing peace and war thy own majestic way; To tame the proud, the fettered slave to free:These are imperial arts, and worthy thee. Line 9 presents an example ofzeugmaapostropheanaphoraperiphrasischiasmus3. Read the passage belowLet others better mould the running mass Of metals, and inform the breathing brass, And soften into flesh a marble face; Plead better at the bar; describe the skies,And when the stars descend, and when they rise. But, Rome! ’tis thine alone, with awful sway, To rule mankind, and make the world obey, Disposing peace and war thy own majestic way; To tame the proud, the fettered slave to free:These are imperial arts, and worthy thee. As used in line 6, “sway” most nearly meanscrueltytactresolvepowerwisdom4. Read the passage belowLet others better mould the running mass Of metals, and inform the breathing brass, And soften into flesh a marble face; Plead better at the bar; describe the skies,And when the stars descend, and when they rise. But, Rome! ’tis thine alone, with awful sway, To rule mankind, and make the world obey, Disposing peace and war thy own majestic way; To tame the proud, the fettered slave to free:These are imperial arts, and worthy thee. Which of the following words or phrases has been omitted as understood after “worthy” (line 10) ?beforeas substitutes forofbesideaccording to5. The passage appears in a work in which aI have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader’s mind. No matter how many times we reopen “King Lear,” never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert’s father’s timely tear. Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them..... Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We would prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.man falsely believes himself to be a medieval knightman wakes up to find that he has become a giant insectman becomes obsessed with his landlady’s twelve-year-old daughterman remains youthful while a portrait of him ageswoman is made to wear a red letter on her bodice6. The passage below calls into question the concept ofI have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader’s mind. No matter how many times we reopen “King Lear,” never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert’s father’s timely tear. Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them..... Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We would prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.deus ex machinain medias rescatharsishamartiamimesis7. Read the passage belowLet others better mould the running mass Of metals, and inform the breathing brass, And soften into flesh a marble face; Plead better at the bar; describe the skies,And when the stars descend, and when they rise. But, Rome! ’tis thine alone, with awful sway, To rule mankind, and make the world obey, Disposing peace and war thy own majestic way; To tame the proud, the fettered slave to free:These are imperial arts, and worthy thee. The passage is fromLongfellow’s translation of DanteSandys’ translation of OvidDryden’s translation of VirgilQueen Elizabeth’s translation of BoethiusChapman’s translation of Homer8. The passage below argues thatI have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader’s mind. No matter how many times we reopen “King Lear,” never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert’s father’s timely tear. Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them..... Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We would prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.it is a waste of time to reread works of literaturepeople never really betray each other the way that fictional characters dowe expect humans to act as consistently as fictional characters dogreat works of literature written by unknowns often pass unnoticed“stability of type” is more common in real life than in literature9. The passage below refers explicitly toI have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader’s mind. No matter how many times we reopen “King Lear,” never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert’s father’s timely tear. Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them..... Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We would prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.Crime and PunishmentAnna KareninaFaustMadame BovaryDon Quixote10. Read the passage belowLet others better mould the running mass Of metals, and inform the breathing brass, And soften into flesh a marble face; Plead better at the bar; describe the skies,And when the stars descend, and when they rise. But, Rome! ’tis thine alone, with awful sway, To rule mankind, and make the world obey, Disposing peace and war thy own majestic way; To tame the proud, the fettered slave to free:These are imperial arts, and worthy thee.Which of the following most accurately describes the passage?The speaker defends himself as a loyal citizen but expresses regret over the state of the arts in Rome.The speaker claims that Roman culture is superior to all others in the range and diversity of its achievements.The speaker compliments Greek culture for its achievements in art and science, and singles out administration as a Roman artThe speaker deplores the widespread use of slaves in the ancient worldThe speaker argues that the fate of empires can be discovered by interpreting celestial events.11. Read the passage belowLet others better mould the running mass Of metals, and inform the breathing brass, And soften into flesh a marble face; Plead better at the bar; describe the skies,And when the stars descend, and when they rise. But, Rome! ’tis thine alone, with awful sway, To rule mankind, and make the world obey, Disposing peace and war thy own majestic way; To tame the proud, the fettered slave to free:These are imperial arts, and worthy thee. Which line of the translated passage is an Alexandrine?85231012 out of 11Time is Up!
