2002 Thomson Peterson SAT II Literature

Total Page:16

File Type:pdf, Size:1020Kb

2002 Thomson Peterson SAT II Literature About Peterson’s To succeed on your lifelong educational journey, you will need accurate, dependable, and practical tools and resources. That is why Peterson’s is everywhere education happens. Because whenever and however you need education content delivered, you can rely on Peterson’s to provide the information, know-how, and guidance to help you reach your goals. Tools to match the right students with the right school. It’s here. Personalized resources and expert guidance. It’s here. Comprehensive and dependable education content—delivered whenever and however you need it. It’s all here. Editorial Development: Sonya Kapoor Turner For more information, contact Peterson’s, 2000 Lenox Drive, Lawrenceville, NJ 08648; 800-338-3282; or find us on the World Wide Web at www.petersons.com/about. COPYRIGHT © 2002 Peterson’s Previous edition, © 2001 ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced or used in any form or by any means—graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution, or information storage and retrieval systems—without the prior written permission of the publisher. For permission to use material from this text or product, complete the Permission Request Form at http://www.petersons.com/permissions. ISBN 0-7689-0959-7 Printed in the United States of America 10987654321040302 ACKNOWLEDGMENTS “Address to the Graduating Class” from ESSAYS, SPEECHES AND PUBLIC LETTERS by William Faulkner, edited by James B. Meriwether. Copyright 1965 by Random House, Inc. Used by permission of Random House, Inc. and The Random House Group Ltd. “The Soul selects her own Society” reprinted by permission of the publishers and the Trustees of Amherst College from THE POEMS OF EMILY DICKINSON, Thomas H. Johnson, ed., Cambridge, Mass.: The Belknap Press of Harvard University Press. Copyright 1951, 1955, 1979 by The President and Fellows of Harvard College. “July Storm” from DOWN HALF THE WORLD by Elizabeth Coat- sworth. Copyright 1968 by Elizabeth Coatsworth Beston. Reprinted by permission of Simon & Schuster. “Night Clouds” from THE COMPLETE POETICAL WORKS OF AMY LOWELL. Copyright 1955 by Houghton Mifflin Co. Renewed 1983 by Houghton Mifflin Co., Brinton P. Roberts and G. D’Andelot Belin, Esq. Reprinted by permission of Houghton Mifflin Co. All rights reserved. “There’s a certain slant of light” reprinted by permission of the publishers and the Trustees of Amherst College from THE POEMS OF EMILY DICKINSON, Thomas H. Johnson, ed., Cambridge, Mass.: The Belknap Press of Harvard University Press. Copyright 1951, 1955, 1979 by The President and Fellows of Harvard College. Peterson’s: www.petersons.com iii CONTENTS Quick Reference Guide .............................. vii Table of Literary Works.............................. ix Red Alert Top 10 Strategies for Acing the Test ...................... 1 10 Facts About the SAT II: Literature Test.................. 2 Scoring High on the SAT II: Literature Test ................ 6 Practice Plan for Studying for the SAT II: Literature Test . 9 The Panic Plan .......................................... 13 Why Take the Diagnostic Test? ........................... 15 Diagnostic Test........................................... 17 Answers and Explanations..................... 37 Chapter 1 Strategies for the SAT II: Literature Test ............................. 53 Chapter 2 Elements of Prose ......................... 63 Practice Set ................................... 86 Answers and Explanations..................... 90 Chapter 3 Elements of Poetry ........................ 93 Practice Set ................................... 112 Answers and Explanations..................... 114 Chapter 4 A Quick Review of Literary Terms ...... 117 Chapter 5 A Quick Review of Usage ................ 129 Practice Test 1............................................ 137 Answers and Explanations..................... 158 Practice Test 2............................................ 171 Answers and Explanations..................... 193 Practice Test 3............................................ 209 Answers and Explanations..................... 221 Practice Test 4............................................ 245 Answers and Explanations..................... 268 Practice Test 5............................................ 281 Answers and Explanations..................... 305 Peterson’s: www.petersons.com v QUICK REFERENCE GUIDE Analyzing Poetry Chart............................... 106 Analyzing Prose Chart................................ 84 Analyzing the Questions: Strategies for Determining Answers ....................................... 60 Attacking the Questions: Practical Advice ............... 59 Basic Information About the SAT II: Literature Test....... 54 Character and Characterization in Poetry ............... 103 Character and Characterization in Prose ................ 79 Elements of Style: The Poet’s Techniques ............... 100 Elements of Style: Language Use in Prose ............... 77 ForminPoetry...................................... 95 ForminProse...................................... 69 Meaning in Context ................................. 104 Meaning and Message in Poetry ....................... 94 Meaning and Message in Prose ........................ 65 Organizational Patterns in Prose ....................... 72 Reading Effectively: Techniques for the SAT II Poetry Selections...................................... 108 6 IMPORTANT STRATEGIES 1. Highlight the key words in the question so you will know what you are looking for in the answer choices. 2. With a not/except question, ask yourself if an answer choice is true about the subject of the question. If it is true, cross it off and keep checking answers. 3. If you aren’t sure about an answer, but you know something about the question, eliminate what you know is wrong and make an educated guess. 4. All parts of an answer choice must be correct for the answer to be correct. 5. Don’t rely on your memory; refer to the passage. For poetry, read a line or two above and below the reference. 6. Read all the choices before you choose your answer. A snap judgment could cost you a quarter point. Peterson’s: www.petersons.com vii QUICK REFERENCE GUIDE Reading Effectively: Techniques for the SAT II Prose Selections...................................... 81 Tone in Poetry...................................... 97 Tone in Prose ...................................... 73 VoiceinPoetry..................................... 98 VoiceinProse...................................... 75 For additional review material, be sure to read the “Answers and Explanations” Diagnostic Test ................................. 17 Practice Test 1.................................. 137 Practice Test 2.................................. 171 Practice Test 3.................................. 209 Practice Test 4.................................. 245 Practice Test 5.................................. 281 viii Peterson’s SAT II Success: Literature TABLE OF LITERARY WORKS The following list represents all the works of literature discussed in this book: DIAGNOSTIC TEST Robert Burns, “My Heart’s in the Highlands” .................. 20 William Faulkner, “Address to the Graduating Class, University High School, Oxford, Mississippi”....................... 23 Alfred, Lord Tennyson, “The Splendor Falls” .................. 26 Henry David Thoreau, from Civil Disobedience ............... 28 Emily Dickinson, “The Soul selects her own Society—”......... 31 William Shakespeare, from A Midsummer Night’s Dream ...... 33 CHAPTER 2 Thomas Paine, from The Crisis.............................. 86 CHAPTER 3 William Shakespeare, “Sonnet 29” ........................... 112 PRACTICE TEST 1 William Shakespeare, “Sonnet 18” ........................... 140 Ralph Waldo Emerson, from Self-Reliance .................... 142 Elizabeth Coatsworth, “July Storm” .......................... 145 Amy Lowell, “Night Clouds” ................................ 145 Charles Dickens, from Great Expectations.................... 148 Gerard Manley Hopkins, “Spring” ........................... 151 Abigail Adams, “Letter to Her Daughter from the New White House”.............................................. 153 William Blake, “Holy Thursday” ............................. 156 PRACTICE TEST 2 Hector St. John de Crèvecoeur, from the third essay of Letters from an American Farmer ............................ 174 Robert Browning, “My Last Duchess” ........................ 177 Paul Laurence Dunbar, “Douglass”........................... 181 James Boswell, from “Feelings” in The Life of Samuel Johnson . 183 William Cullen Bryant, “To a Waterfowl” ..................... 186 George Herbert, “Easter Wings”............................. 188 Charlotte Brontë, from Jane Eyre ........................... 190 Peterson’s: www.petersons.com ix TABLE OF LITERARY WORKS PRACTICE TEST 3 Oliver Wendell Holmes, “Old Ironsides”...................... 212 John Bunyan, from “Vanity Fair” in Pilgrim’s Progress ......... 215 Edgar Allan Poe, “Eldorado” ................................ 218 William Blake, “London” ................................... 220 William Wordsworth, “London, 1802” ....................... 220 Mark Twain, “Advice to Little Girls” ......................... 223 Christina Rossetti, “A Birthday” ............................. 226 Charles Dickens, from Hard Times .......................... 228 PRACTICE TEST 4 George Gordon, Lord Byron, “The Destruction of Sennacherib”. 248 Mark Twain, from Roughing It ............................
Recommended publications
  • Emily Dickinson in Song
    1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others.
    [Show full text]
  • Download It from Microsoft.'
    Writing Portfolio This portfolio is submitted in partial fulfilment of the requirements for the degree of Master of Arts (Creative Writing) by Megan van der Nest November 2011 Abstract This portfolio contains the coursework component of this degree, which consisted of weekly writing assignments in a variety of styles and genres. It also contains extracts from the daily journal kept for the duration of the course, which includes earlier versions of the poems in the main collection, and reflections on the process of writing and editing a collection of poetry. ii Table of Contents Part One: Portfolio 1 7-13 February: Reading Research 1 14-20 February: Poetry 4 21-27 February: Fiction 7 28 February-6 March: Monologue/Dialogue 17 7-13 March: Poetry 21 14-20 March: Poetry 24 21-27 March: Poetry 25 26 March: Project Proposal Freewrite 27 28 March-3 April: Poetry & Story Summary 29 3 April: Book Report 1 31 4-19 April: Fiction 35 11-17 April: Fiction 38 18 April-1May: Poetry 41 2-8 May: Poetry 42 9-15 May: Research at NELM 43 29 May: Book Report 2 46 Part Two: Reflective Journal [extracts] 48 lll Part One: Portfolio 7 - 13 February Reading Research Teacher: Robert Berold It's difficult to find fiction in the library, unless you know exactly what you are looking for. They should keep it all together, and sort it alphabetically, rather than using the Dewey system. I'm sure there's a reason for it- it is an academic library I suppose - but it's not designed for browsing.
    [Show full text]
  • Emily Dickinson Poems Commentary
    Emily Dickinson was twenty on 10 December 1850. There are 5 of her poems surviving from 1850-4. Poem 1 F1 ‘Awake ye muses nine’ In Emily’s youth the feast of St Valentine was celebrated not for one day but for a whole week, during which ‘the notes flew around like snowflakes (L27),’ though one year Emily had to admit to her brother Austin that her friends and younger sister had received scores of them, but his ‘highly accomplished and gifted elderly sister (L22)’ had been entirely overlooked. She sent this Valentine in 1850 to Elbridge Bowdoin, her father’s law partner, who kept it for forty years. It describes the law of life as mating, and in lines 29-30 she suggests six possible mates for Bowdoin, modestly putting herself last as ‘she with curling hair.’ The poem shows her sense of fun and skill as a verbal entertainer. Poem 2 [not in F] ‘There is another sky’ On 7 June 1851 her brother Austin took up a teaching post in Boston. Emily writes him letter after letter, begging for replies and visits home. He has promised to come for the Autumn fair on 22 October, and on 17 October Emily writes to him (L58), saying how gloomy the weather has been in Amherst lately, with frosts on the fields and only a few lingering leaves on the trees, but adds ‘Dont think that the sky will frown so the day when you come home! She will smile and look happy, and be full of sunshine then – and even should she frown upon her child returning…’ and then she follows these words with poem 2, although in the letter they are written in prose, not verse.
    [Show full text]
  • Dickinson's Fascicles : a Spectrum of Possibilities / Edited by Paul Crumbley and Eleanor Elson Heginbotham
    Dickinson’s Fascicles Dickinson’s Fascicles A Spectrum of Possibilities Edited by Paul Crumbley and Eleanor Elson Heginbotham THE OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 2014 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Dickinson's fascicles : a spectrum of possibilities / edited by Paul Crumbley and Eleanor Elson Heginbotham. pages cm Summary: "In this volume, a number of senior and emerging Dickinson scholars raise their dispa- rate voices with a particular set of theoretical premises, each selecting specific fascicles for close in- spection. The result is the first practical, balanced, common ground for studying Dickinson's poetry in her own context"— Provided by publisher. Includes bibliographical references and index. ISBN 978-0-8142-1259-2 (hardback) — ISBN 0-8142-1259-X (cloth) — ISBN 978-0-8142-9363-8 (cd-rom) 1. Dickinson, Emily, 1830–1886—Criticism, Textual. 2. Dickinson, Emily, 1830–1886—Technique. 3. Dickinson, Emily, 1830–1886—Manuscripts. I. Crumbley, Paul, 1952– editor of compilation. II. Heginbotham, Eleanor Elson, editor of compilation. PS1541.Z5D495 2014 811'.4—dc23 2013049757 Cover design by Janna Thompson-Chordas Text design by Juliet Williams Type set in Adobe Garamond Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Nation- al Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 CONTENTS List of Illustrations vii List of
    [Show full text]
  • Bloom's How to Write About Emily Dickinson
    BLOOM’S HOW TO WRITE ABOUT Emily Dμckins∂n ANNA PRIDDY Introduction by Harold Bloom Bloom’s How to Write about Emily Dickinson Copyright © 2008 by Anna Priddy All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Priddy, Anna. Bloom’s how to write about Emily Dickinson / Anna Priddy; introduction by Harold Bloom. p. cm. Includes bibliographical references and index. ISBN 978-0-7910-9492-1 (alk. paper) 1. Dickinson, Emily, 1830–1886—Criticism and interpretation. 2. Criticism— Authorship. 3. Report writing. I. Bloom, Harold. II. Title. III. Title: How to write about Emily Dickinson. PS1541.Z5P75 2008 811'.4—dc22 2006100573 Chelsea House books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can fi nd Chelsea House on the World Wide Web at http://www.chelseahouse.com Text design by Annie O’Donnell Cover design by Ben Peterson Printed in the United States of America Bang FOF 10 9 8 7 6 5 4 3 2 1 Th is book is printed on acid-free paper. CONTENTS Series Introduction v Volume Introduction
    [Show full text]
  • Music in the Life and Poetry of Emily Dickinson
    MUSIC IN THE LIFE AND POBTRY OF EMILY DICKINSON APPROVED: /3, Maj or Proiess;pr Minor Professor <?. ST. G-tMfv -n Cfiairman "of~t3ie/T)epartifient "of EngiTtsTT" Dean ToF the Graduate SclToo 1 Reglin, Louise W., Music in the Life and Poetry of Emily Dickdrison. Master of Arts (English), August, 1971, 132 pp., appendix, bibliography, 42 titles. The problem with which this study is concerned is the importance of music in the life and poetry of Emily Dickin- son. The means of determining this importance were as follows: (1) determining the experiences which the poet had in music as the background for her references to music in the poems, (2) revealing the extent to which she used the yocao* ulary of music in her poems, (3) explicating the poems whose main subject is music, (4) investigating her use of music in I| the development of certain major themes, and (5) examining! other imagery in her poetry which is related to music. The most often quoted sources of information are The Letters of Emily Dickinson, edited by Thomas H. Johnson, arid The Poems of Emily Dickinson, also edited by Thomas H. John- son. A third work which is of great importance to this study is A Concordance to the Poems of Emily Dickinson by Samuel P. Rosenbaum. The study reveals significant facts about Emily Dickiii" son's life including a description of the village of Amherst, the members of her family, her schooling, her withdrawal j from community life, the fact that she was a private poet, her death, the finding of the hoard of poems by her sister Lavinia, the circumstances surrounding the first publications of poems and letters, and the events which led to a cessation if - „ in their publication." .
    [Show full text]
  • Edited by Jonathan FS Post
    2208_FM.qrk 10/4/01 8:29 AM Page i Green Thoughts,Green Shades 2208_FM.qrk 10/4/01 8:29 AM Page ii 2208_FM.qrk 10/4/01 8:29 AM Page iii Green Thoughts, Green Shades essays by contemporary poets on the early modern lyric Edited by Jonathan F.S.Post university of california press berkeley los angeles london 2208_FM.qrk 10/4/01 8:29 AM Page iv University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2002 by the Regents of the University of California A slightly different version of chapter 9 appeared in Alice Fulton, Feeling as a Foreign Language: The Good Strange- ness of Poetry (St. Paul, Minn.: Graywolf Press, 1999), 85–124. James Merrill’s poem “Tomorrows” appears in chapter 2 by kind permission of Random House, Inc., publisher of James Merrill, Collected Poems, ed. by J. D. McClatchy and Stephen Yenser (New York: Alfred A. Knopf, 2001). Elizabeth Bishop’s poems “A Miracle for Breakfast” and “Sestina” appear in chapter 2, from Elizabeth Bishop, The Complete Poems: 1927–1979. Copyright © 1979, 1983 by Alice Helen Methfessel. Reprinted by permission of Far- rar, Straus and Giroux, LLC. Library of Congress Cataloging-in-Publication Data Green thoughts, green shades : essays by contemporary poets on the early modern lyric / Jonathan F. S. Post, edi- tor. p. cm. Includes bibliographical references and index. ISBN 0-520-21455-2 (alk. paper).—ISBN 0-520-22752-2 (pbk. : alk. paper) 1. English poetry—Early modern, 1500–1700—History and criticism. I.
    [Show full text]
  • Eve Kosofsky Sedgwick As a Poet
    bathroom songs Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-profit press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afloat. Contri- butions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t find a welcoming port elsewhere. Our ad- venture is not possible without your support. Vive la open-access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) bathroom songs: eve kosofsky sedgwick as a poet. Copyright © 2017 by editor and authors. This work carries a Creative Commons BY-NC-SA 4.0 In- ternational license, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transformation, you distribute your rebuild under the same license. http://creativecommons.org/licenses/by-nc-sa/4.0/ First published in 2017 by punctum books, Earth, Milky Way. https://punctumbooks.com ISBN-13: 978-1-947447-30-1 (print) ISBN-13: 978-1-947447-31-8 (ePDF) lccn: 2017957440 Library of Congress Cataloging Data is available from the Library of Congress Book design: Vincent W.J.
    [Show full text]