The word from paragraph 7 that comes from the Old English word meaning "to tolerate or endure" is "forbearance."
Concerning Cruelty and Clemency, and Whether It Is Better to Be Loved Than Feared
by Niccolo Machiavelli
In The Prince, published in 1532, Machiavelli provides instructions for how royals should rule over their subjects. At the time, Italy was a collection of city-states and principalities, not a unified country. In his instructions, he refers to the actions and public perception of emperors and generals from the time of the Roman Empire and contemporary Italian leaders as examples. Machiavellian philosophy argues that rulers can and should behave immorally in order to gain and keep power but maintain the appearance of honesty and truth.
1 Coming now to the other qualities mentioned above, I say that every prince ought to desire to be considered clement and not cruel. Nevertheless he ought to take care not to misuse this clemency. Cesare Borgia was considered cruel; notwithstanding, his cruelty reconciled the Romagna, unified it, and restored it to peace and loyalty.... He will be seen to have been much more merciful than the Florentine people, who, to avoid a reputation for cruelty, permitted Pistoia to be destroyed. Therefore a prince, so long as he keeps his subjects united and loyal, ought not to mind the reproach of cruelty; because with a few examples he will be more merciful than those who, through too much mercy, allow disorders to arise...
2 Of all princes, it is impossible for the new prince to avoid the imputation of cruelty, owing to new states being full of dangers. Hence Virgil [in The Aeneid], through the mouth of Dido, excuses the inhumanity of her reign owing to its being new, saying:
3 against my will, my fate, A throne unsettled, and an infant state, Bid me defend my realms with all my pow'rs, And guard with these severities my shores.
4 Nevertheless he ought to be slow to believe and to act, nor should he himself show fear, but proceed in a temperate manner with prudence and humanity, so that too much confidence may not make him incautious and too much distrust render him intolerable.
5 Upon this a question arises: whether it be better to be loved than feared or feared than loved? It may be answered that one should wish to be both, but, because it is difficult to unite them in one person, is much safer to be feared than loved... Because this is to be asserted in general of men, that they are ungrateful, fickle, false, cowardly, covetous, and as long as you succeed they are yours entirely; they will offer you their property when the need is far distant; but when it approaches they turn against you. And that prince who, relying entirely on their promises, has neglected other precautions, is ruined; because friendships that are obtained by payments, and not by greatness or nobility of mind, may indeed be earned, but they are not secured, and in time of need cannot be relied upon; and men have less scruple in offending one who is beloved than one who is feared, for love is preserved by the link of obligation which, owing to the baseness of men, is broken at every opportunity for their advantage; but fear preserves you by a dread of punishment which never fails
6 Nevertheless a prince ought to inspire fear in such a way that, if he does not win love, he avoids hatred; because he can endure very well being feared whilst he is not hated, which will always be as long as he abstains from the property of his citizens and subjects.... Besides, pretexts for taking away the property are never wanting; for he who has once begun to live by robbery will always find pretexts for seizing what belongs to others.... But when a prince is with his army, and has under control a multitude of soldiers, then it is quite necessary for him to disregard the reputation of cruelty, for without it he would never hold his army united or disposed to its duties.
7 Among the wonderful deeds of Hannibal this one is enumerated: that having led an enormous army, composed of many various races of men, to fight in foreign lands, no dissensions arose either among them or against the prince, whether in his bad or in his good fortune. This arose from nothing else than his inhuman cruelty, which, with his boundless valor, made him revered and terrible in the sight of his soldiers. But without that cruelty, his other virtues were not sufficient to produce this effect. And shortsighted writers admire his deeds from one point of view and from another condemn the principal cause of them. That it is true his other virtues would not have been sufficient for him may be proved by the case of Scipio, that most excellent man... against whom, nevertheless, his army rebelled in Spain; this arose from nothing but his too great forbearance, which gave his soldiers more license than is consistent with military discipline. For this he was called the corrupter of the Roman soldiery owing entirely to his easy nature. Insomuch that someone in the Senate, wishing to excuse him, said there were many men who knew much better how not to err than to correct the errors of others..
8 Returning to the question of being feared or loved, I come to the conclusion that, men loving according to their own will and fearing according to that of the prince, a wise prince should establish himself on that which is in his own control and not in that of others; he must endeavor only to avoid hatred.
Select the word from paragraph 7 that comes from the Old English word meaning "to tolerate or endure."
"That it is true his other virtues would not have been sufficient for him may be proved by the case of Scipio, that most excellent man against whom, nevertheless, his army rebelled in Spain; this arose from nothing but his too great forbearance, which gave his soldiers more license than is consistent with military discipline. For this he was called the corrupter of the Roman soldiery owing entirely to his easy nature."
195 answers
Read this detail from the passage.
and men have less scruple in offending one who is beloved than one who is feared, for love is preserved by the link of obligation which, owing to the baseness of men, is broken at every opportunity for their advantage; but fear preserves you by a dread of punishment which never fails." (paragraph 5)
How does the idea of "the link of obligation" contribute to the mood of the passage?
It creates a sense of nostalgia about events that happened in the past.
It creates a sense of boredom about how predictable human behavior is.
It creates a sense of wariness about the relationships between individuals.
It creates a sense of uncertainty about how individuals will react in new situations.
and men have less scruple in offending one who is beloved than one who is feared, for love is preserved by the link of obligation which, owing to the baseness of men, is broken at every opportunity for their advantage; but fear preserves you by a dread of punishment which never fails." (paragraph 5)
How does the idea of "the link of obligation" contribute to the mood of the passage?
It creates a sense of nostalgia about events that happened in the past.
It creates a sense of boredom about how predictable human behavior is.
It creates a sense of wariness about the relationships between individuals.
It creates a sense of uncertainty about how individuals will react in new situations.
The idea of "the link of obligation" contributes to the mood of the passage by creating a sense of wariness about the relationships between individuals. Machiavelli’s assertion that love is based on obligation, which can be easily broken for personal advantage, imparts a cautionary tone regarding trust and loyalty among people. This reinforces the underlying theme of the passage that highlights the unreliable nature of human relationships and the necessity for a ruler to rely more on fear than on love to maintain control and stability.
Read this detail from the passage.
and men have less scruple in offending one who is beloved than one who is feared, for love is preserved by the link of obligation which, owing to the baseness of men, is broken at every opportunity for their advantage; but fear preserves you by a dread of punishment which never fails." (paragraph 5)
How does the idea of "the link of obligation" contribute to the mood of the passage?
A. It creates a sense of nostalgia about events that happened in the past.
B. It creates a sense of boredom about how predictable human behavior is.
C. It creates a sense of wariness about the relationships between individuals.
D. It creates a sense of uncertainty about how individuals will react in new situations.
and men have less scruple in offending one who is beloved than one who is feared, for love is preserved by the link of obligation which, owing to the baseness of men, is broken at every opportunity for their advantage; but fear preserves you by a dread of punishment which never fails." (paragraph 5)
How does the idea of "the link of obligation" contribute to the mood of the passage?
A. It creates a sense of nostalgia about events that happened in the past.
B. It creates a sense of boredom about how predictable human behavior is.
C. It creates a sense of wariness about the relationships between individuals.
D. It creates a sense of uncertainty about how individuals will react in new situations.
The correct answer is C. It creates a sense of wariness about the relationships between individuals.
Machiavelli’s discussion of the "link of obligation" highlights the fragility and unreliability of love, leading to a cautious perspective on human interactions and relationships, especially in the context of power and loyalty.
How does the author use multiple text structures to develop ideas in the Passage? Select two options.
A. He uses rank order to determine the most important leaders of the past.
B. He uses chronological order to show how leadership styles changed over time.
C. He uses problem and solution to establish his own personal successes in leadership.
D. He uses description to demonstrate the methods a hypothetical leader should adopt.
E. He uses compare and contrast to distinguish the characteristics and actions of historical leaders.
A. He uses rank order to determine the most important leaders of the past.
B. He uses chronological order to show how leadership styles changed over time.
C. He uses problem and solution to establish his own personal successes in leadership.
D. He uses description to demonstrate the methods a hypothetical leader should adopt.
E. He uses compare and contrast to distinguish the characteristics and actions of historical leaders.
The two options that best describe how the author uses multiple text structures to develop ideas in the passage are:
D. He uses description to demonstrate the methods a hypothetical leader should adopt.
E. He uses compare and contrast to distinguish the characteristics and actions of historical leaders.
In the passage, Machiavelli describes the methods that a leader should adopt (particularly the balance of fear and love) and compares the effectiveness of different leaders from history to illustrate his points.
How does the author use multiple text structures to develop ideas in the Passage? Select two options.
A. He uses rank order to determine the most important leaders of the past.
B. He uses chronological order to show how leadership styles changed over time.
C. He uses problem and solution to establish his own personal successes in leadership.
D. He uses description to demonstrate the methods a hypothetical leader should adopt.
E. He uses compare and contrast to distinguish the characteristics and actions of historical leaders.
A. He uses rank order to determine the most important leaders of the past.
B. He uses chronological order to show how leadership styles changed over time.
C. He uses problem and solution to establish his own personal successes in leadership.
D. He uses description to demonstrate the methods a hypothetical leader should adopt.
E. He uses compare and contrast to distinguish the characteristics and actions of historical leaders.
The two options that best describe how the author uses multiple text structures to develop ideas in the passage are:
D. He uses description to demonstrate the methods a hypothetical leader should adopt.
E. He uses compare and contrast to distinguish the characteristics and actions of historical leaders.
Machiavelli describes the methods a leader should adopt, such as balancing fear and love, while also comparing different historical leaders' qualities and actions to illustrate the effectiveness of their leadership styles.
What central idea does the author support through the example of Borgia in paragraph 1?
Cruelty can be justified if it leads to desirable results.
Loyalty to only one specific group of people can be dangerous.
Excessive cruelty can risk causing citizens to turn against their leader.
Cultivating loyalty is an important way to avoid the outbreak of conflict.
Cruelty can be justified if it leads to desirable results.
Loyalty to only one specific group of people can be dangerous.
Excessive cruelty can risk causing citizens to turn against their leader.
Cultivating loyalty is an important way to avoid the outbreak of conflict.
The central idea that the author supports through the example of Borgia in paragraph 1 is:
Cruelty can be justified if it leads to desirable results.
Machiavelli discusses how Cesare Borgia's actions, which were considered cruel, ultimately helped to unify the Romagna, restore peace, and earn loyalty from the people, thus suggesting that cruelty can be acceptable if it yields positive outcomes for governance.
What central idea does the author support through the example of Borgia in paragraph 1?
Cruelty can be justified if it leads to desirable results.
Loyalty to only one specific group of people can be dangerous.
Excessive cruelty can risk causing citizens to turn against their leader.
Cultivating loyalty is an important way to avoid the outbreak of conflict.
Cruelty can be justified if it leads to desirable results.
Loyalty to only one specific group of people can be dangerous.
Excessive cruelty can risk causing citizens to turn against their leader.
Cultivating loyalty is an important way to avoid the outbreak of conflict.
The central idea that the author supports through the example of Borgia in paragraph 1 is:
Cruelty can be justified if it leads to desirable results.
Machiavelli uses Borgia's actions as an illustration of how his cruelty led to the unification and pacification of the Romagna, arguing that the outcomes of effective leadership can justify such measures when they maintain order and loyalty among subjects.
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
What is a central idea of the passage?
Individuals with military experience make the best leaders.
Few individuals have the qualities required to be a good leader.
Citizens have an important role in deciding how their leaders act.
Leaders must be aware of the relationship they have with their subjects.
Part A
What is a central idea of the passage?
Individuals with military experience make the best leaders.
Few individuals have the qualities required to be a good leader.
Citizens have an important role in deciding how their leaders act.
Leaders must be aware of the relationship they have with their subjects.
Part A
A central idea of the passage is:
Leaders must be aware of the relationship they have with their subjects.
Machiavelli discusses the importance of a ruler's understanding of how to maintain power, emphasizing the balance between being loved and feared, and the need to manage relationships with subjects to ensure loyalty and stability.
Part B
Please provide the options or the question for Part B, and I'll be happy to assist you with it!
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
What is a central idea of the passage?
Individuals with military experience make the best leaders.
Few individuals have the qualities required to be a good leader.
Citizens have an important role in deciding how their leaders act.
Leaders must be aware of the relationship they have with their subjects.
Part A
What is a central idea of the passage?
Individuals with military experience make the best leaders.
Few individuals have the qualities required to be a good leader.
Citizens have an important role in deciding how their leaders act.
Leaders must be aware of the relationship they have with their subjects.
Part A
A central idea of the passage is:
Leaders must be aware of the relationship they have with their subjects.
Machiavelli emphasizes the importance of understanding the dynamics of power, love, fear, and loyalty between a ruler and their subjects to maintain control and stability.
If you have a specific question or options for Part B, please provide them, and I'd be glad to help!
Part B
How does the author develop the central idea in Part A?
by contrasting how the actions of different leaders were perceived
by describing how decision making differs in wartime and peacetime
by explaining how the virtues of some leaders can be flaws in others
by indicating how difficult making decisions is under changing circumstances
How does the author develop the central idea in Part A?
by contrasting how the actions of different leaders were perceived
by describing how decision making differs in wartime and peacetime
by explaining how the virtues of some leaders can be flaws in others
by indicating how difficult making decisions is under changing circumstances
Part B
The author develops the central idea in Part A by contrasting how the actions of different leaders were perceived.
Throughout the passage, Machiavelli references historical leaders like Cesare Borgia and Hannibal to illustrate how their actions—perceived as either cruel or effective—affect their relationship with subjects. This contrast helps highlight the complex dynamics leaders face in maintaining power and loyalty among their followers.
Part B
How does the author develop the central idea in Part A?
by contrasting how the actions of different leaders were perceived
by describing how decision making differs in wartime and peacetime
by explaining how the virtues of some leaders can be flaws in others
by indicating how difficult making decisions is under changing circumstances
How does the author develop the central idea in Part A?
by contrasting how the actions of different leaders were perceived
by describing how decision making differs in wartime and peacetime
by explaining how the virtues of some leaders can be flaws in others
by indicating how difficult making decisions is under changing circumstances
The correct choice for Part B is:
by contrasting how the actions of different leaders were perceived.
Machiavelli develops the central idea by examining historical leaders like Cesare Borgia and others, highlighting how their actions—whether seen as cruel or effective—affect their relationships with their subjects and how they maintain power. This contrast illustrates the complexities leaders face in gaining and keeping the loyalty of their people.
Read this sentence from the passage.
"Upon this a question arises: whether it be better to be loved than feared or feared than loved?" (paragraph 5)
What is the effect of this rhetorical question on the passage?
It establishes the two qualities the author thinks are most important in a leader.
It demonstrates that the author is uncertain about what kind of leader he would be.
It introduces the contrasting choices the author thinks leaders must choose between.
It suggests that the author doubts whether leaders can change how their subjects see them.
"Upon this a question arises: whether it be better to be loved than feared or feared than loved?" (paragraph 5)
What is the effect of this rhetorical question on the passage?
It establishes the two qualities the author thinks are most important in a leader.
It demonstrates that the author is uncertain about what kind of leader he would be.
It introduces the contrasting choices the author thinks leaders must choose between.
It suggests that the author doubts whether leaders can change how their subjects see them.
The effect of this rhetorical question on the passage is:
It introduces the contrasting choices the author thinks leaders must choose between.
By posing the question of whether it is better for a leader to be loved or feared, Machiavelli sets up the central debate of the passage regarding the qualities that are most effective in leadership and the necessary considerations for maintaining power and loyalty.
Read this sentence from the passage.
"Upon this a question arises: whether it be better to be loved than feared or feared than loved?" (paragraph 5)
What is the effect of this rhetorical question on the passage?
It establishes the two qualities the author thinks are most important in a leader.
It demonstrates that the author is uncertain about what kind of leader he would be.
It introduces the contrasting choices the author thinks leaders must choose between.
It suggests that the author doubts whether leaders can change how their subjects see them.
"Upon this a question arises: whether it be better to be loved than feared or feared than loved?" (paragraph 5)
What is the effect of this rhetorical question on the passage?
It establishes the two qualities the author thinks are most important in a leader.
It demonstrates that the author is uncertain about what kind of leader he would be.
It introduces the contrasting choices the author thinks leaders must choose between.
It suggests that the author doubts whether leaders can change how their subjects see them.
The effect of this rhetorical question on the passage is:
It introduces the contrasting choices the author thinks leaders must choose between.
This question highlights the dilemma faced by leaders regarding the merits of being loved versus being feared, setting the stage for Machiavelli's discussion of leadership qualities and strategies throughout the passage.
Read these two sentences from the passage.
"He will be seen to have been much more merciful than the Florentine people, who, to avoid a reputation for cruelty, permitted Pistoia to be destroyed." (paragraph 1)
"And shortsighted writers admire his deeds from one point of view and from another condemn the principal cause of them." (paragraph 7)
How does the author's use of phrases like "He will be seen" and "shortsighted writers" add to the purpose of the passage?
It suggests that he questions whether his ideas are common or specific to a given time period.
It suggests that he thinks few individuals consider the full potential effects of the decisions they make.
It suggests that he questions whether historical records are accurate or written in favor of certain people.
It suggests that he thinks history will judge actions differently than they were perceived at the time they were originally taken
"He will be seen to have been much more merciful than the Florentine people, who, to avoid a reputation for cruelty, permitted Pistoia to be destroyed." (paragraph 1)
"And shortsighted writers admire his deeds from one point of view and from another condemn the principal cause of them." (paragraph 7)
How does the author's use of phrases like "He will be seen" and "shortsighted writers" add to the purpose of the passage?
It suggests that he questions whether his ideas are common or specific to a given time period.
It suggests that he thinks few individuals consider the full potential effects of the decisions they make.
It suggests that he questions whether historical records are accurate or written in favor of certain people.
It suggests that he thinks history will judge actions differently than they were perceived at the time they were originally taken
The correct answer is:
It suggests that he thinks history will judge actions differently than they were perceived at the time they were originally taken.
The phrases "He will be seen" and "shortsighted writers" indicate that the author believes the interpretation of events and actions can change over time. This reflects the idea that the historical narrative may shift as perspectives and values evolve, which aligns with Machiavelli's exploration of how leadership actions are perceived and judged.
Read these two sentences from the passage.
"He will be seen to have been much more merciful than the Florentine people, who, to avoid a reputation for cruelty, permitted Pistoia to be destroyed." (paragraph 1)
"And shortsighted writers admire his deeds from one point of view and from another condemn the principal cause of them." (paragraph 7)
How does the author's use of phrases like "He will be seen" and "shortsighted writers" add to the purpose of the passage?
It suggests that he questions whether his ideas are common or specific to a given time period.
It suggests that he thinks few individuals consider the full potential effects of the decisions they make.
It suggests that he questions whether historical records are accurate or written in favor of certain people.
It suggests that he thinks history will judge actions differently than they were perceived at the time they were originally taken
"He will be seen to have been much more merciful than the Florentine people, who, to avoid a reputation for cruelty, permitted Pistoia to be destroyed." (paragraph 1)
"And shortsighted writers admire his deeds from one point of view and from another condemn the principal cause of them." (paragraph 7)
How does the author's use of phrases like "He will be seen" and "shortsighted writers" add to the purpose of the passage?
It suggests that he questions whether his ideas are common or specific to a given time period.
It suggests that he thinks few individuals consider the full potential effects of the decisions they make.
It suggests that he questions whether historical records are accurate or written in favor of certain people.
It suggests that he thinks history will judge actions differently than they were perceived at the time they were originally taken
The correct answer is:
It suggests that he thinks history will judge actions differently than they were perceived at the time they were originally taken.
The phrase "He will be seen" implies a future judgment or perspective on past actions, indicating that what may be viewed as cruel or merciful can change over time. Similarly, "shortsighted writers" suggests that contemporary evaluations of leaders' actions may overlook the broader context, emphasizing that historical interpretations can vary based on changing values and perceptions.
Read this paragraph.
4 Nevertheless he ought to be slow to believe and to act, nor should he himself show fear, but proceed in a temperate manner with prudence and humanity, so that too much confidence may not make him incautious and too much distrust render him intolerable.
What is the meaning of the word prudence as it is used in paragraph 47
carefulness
detachment
enthusiasm
unease
4 Nevertheless he ought to be slow to believe and to act, nor should he himself show fear, but proceed in a temperate manner with prudence and humanity, so that too much confidence may not make him incautious and too much distrust render him intolerable.
What is the meaning of the word prudence as it is used in paragraph 47
carefulness
detachment
enthusiasm
unease
In paragraph 4, the word "prudence" means carefulness. In this context, it refers to the quality of being cautious and wise in making decisions, particularly in the context of leadership and governance.
Read this paragraph.
4 Nevertheless he ought to be slow to believe and to act, nor should he himself show fear, but proceed in a temperate manner with prudence and humanity, so that too much confidence may not make him incautious and too much distrust render him intolerable.
What is the meaning of the word prudence as it is used in paragraph 47
carefulness
detachment
enthusiasm
unease
4 Nevertheless he ought to be slow to believe and to act, nor should he himself show fear, but proceed in a temperate manner with prudence and humanity, so that too much confidence may not make him incautious and too much distrust render him intolerable.
What is the meaning of the word prudence as it is used in paragraph 47
carefulness
detachment
enthusiasm
unease
The meaning of the word "prudence" as it is used in paragraph 4 is carefulness. In this context, it refers to being cautious and exercising good judgment in decision-making, especially for a leader.
Passage 1: from The Iliad by Horner
Achilles, a Greek warrior, watches a battle during the Trojan War between his allies, the Achaeans, and their mutual enemies, the Trojans. He has yet to determine his next move.
1 Achilles saw and took note, for he was standing on the stern of his ship watching the hard stress and struggle of the fight. He called from the ship to his comrade Patroclus, who heard him in the tent and came out looking like Mars himself-here indeed was the beginning of the ill that presently befell him. "Why," said he, "Achilles, do you call me? what do you want with me?" And Achilles answered, "Noble son of Menœtius, man after my own heart, I take it that I shall now have the Achæans praying at my knees, for they are in great straits; go, Patroclus, and ask Nestor who it is that he is bearing away wounded from the field.
2 Patroclus did as his dear comrade had bidden him, and set off running by the ships and tents of the Achæans..
3 When the old man [Nestor] saw him he sprang from his seat, seized his hand, led him into the tent, and bade him take his place among them; but Patroclus stood where he was and said, "Noble sir, I may not stay, you cannot persuade me to come in; he that sent me is not one to be trifled with, and he bade me ask who the wounded man was whom you were bearing away from the field. I can now see for myself that he is Machaon, shepherd of his people. I must go back and tell Achilles. You, sir, know what a terrible man he is, and how ready to blame even where no blame should lie."
4 And Nestor answered, "Why should Achilles care to know how many of the Achæans may be wounded?... Will he wait till the ships, do what we may, are in a blaze, and we perish one upon the other?
5 "Old Peleus bade his son Achilles fight ever among the foremost and outvie his peers, while Menœtius the son of Actor spoke thus to you: 'My son,' said he, 'Achilles is of nobler birth than you are, but you are older than he, though he is far the better man of the two. Counsel him wisely, guide him in the right way, and he will follow you to his own profit.' Thus did your father charge you, but you have forgotten; nevertheless, even now, say all this to Achilles if he will listen to you. Who knows but with heaven's help you may talk him over, for it is good to take a friend's advice."
6 With these words he moved the heart of Patroclus, who set off running by the line of the ships to Achilles, descendant of AEacus
Passage 2: from The Song of Achilles by Madeline Miller
The narrator of the story is Patroclus.
7 "I heard you were here." A clear voice, like ice-melted streams
8 My head jerked up. I was in a storeroom, my knees against my chest, wedged between jars of thick-pressed olive oil. I had been dreaming myself a fish, silvered by sun as it leapt from the sea. The waves dissolved, became amphorae and grain sacks again.
9 It was Achilles, standing over me. His face was serious, the green of his eyes steady as he regarded me. I prickled with guilt. I was not supposed to be there and I knew it.
10 "I have been looking for you," he said. The words were expressionless; they carried no hint of anything I could read. "You have not been going to morning drills."
11 My face went red. Behind the guilt, anger rose slow and dull. It was his right to chastise me, but I hated him for it.
12 "How do you know? You aren't there."
13 "The master noticed, and spoke to my father."
14 "And he sent you." I wanted to make him feel ugly for his tale-bearing.
15 "No, I came on my own." Achilles' voice was cool, but I saw his jaw tighten, just a little. "I overheard them speaking. I have come to see if you are ill."
16 I did not answer. He studied me a moment
17 "My father is considering punishment," he said
18 "You are not ill," he said.
19 "No," I answered, dully.
20 "Then that will not serve as your excuse."
21 "What?" In my fear I could not follow him.
22 "Your excuse for where you have been." His voice was patient. "So you will not be punished. What will you say?"
23 "I don't know."
24 "You must say something."
25 His insistence sparked anger in me. "You are the prince," I snapped
26 That surprised him. He tilted his head a little, like a curious bird. "So?"
27 "So speak to your father, and say I was with you. He will excuse it." I said this more confidently than I felt.
28 The slightest crease appeared between his eyes. "I do not like to lie," he said
29 It was the sort of innocence other boys taunted out of you; even if you felt it, you did not say it.
30 "Then take me with you to your lessons," I said. "So it won't be a lie."
31 His eyebrows lifted, and he regarded me. He was utterly still, the type of quiet that I had thought could not belong to humans, a stilling of everything but breath and pulse-like a deer, listening for the hunter's bow. I found myself holding my breath
32 Then something shifted in his face. A decision.
33 "Come," he said.
34 "Where?" I was wary; perhaps now I would be punished for suggesting deceit.
35 "To my lyre lesson. So, as you say, it will not be a lie. After, we will speak with my father."
36 "Now?"
37 "Yes. Why not?" He watched me, curious. Why not?
38 When I stood to follow him, my limbs ached from so long seated on cool stone. My chest trilled with something I could not quite name. Escape, and danger, and hope all at once.
Passage 3: The Triumph of Achilles
by Louise Glück
1 In the story of Patroclus
no one survives, not even Achilles
who was nearly a god.
Patroclus resembled him; they wore
5 the same armor.
Always in these friendships
one serves the other, one is less than the other
the hierarchy is always apparent, though the legends
10 cannot be trusted-
their source is the survivor,
the one who has been abandoned.
What were the Greek ships on fire
compared to this loss?
15 In his tent, Achilles
grieved with his whole being
and the gods saw
he was a man already dead, a victim
of the part that loved,
20 the part that was mortal
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
Ancient Greek literature often explores the idea that heroes have tragic flaws that lead to their downfalls. What flaw does Patroclus imply that Achilles has in Passage 1?
Achilles trusts the advice of others too much.
Achilles has trouble focusing on a single task.
Achilles has unrealistic expectations for himself.
Achilles becomes enraged when things go wrong.
Achilles, a Greek warrior, watches a battle during the Trojan War between his allies, the Achaeans, and their mutual enemies, the Trojans. He has yet to determine his next move.
1 Achilles saw and took note, for he was standing on the stern of his ship watching the hard stress and struggle of the fight. He called from the ship to his comrade Patroclus, who heard him in the tent and came out looking like Mars himself-here indeed was the beginning of the ill that presently befell him. "Why," said he, "Achilles, do you call me? what do you want with me?" And Achilles answered, "Noble son of Menœtius, man after my own heart, I take it that I shall now have the Achæans praying at my knees, for they are in great straits; go, Patroclus, and ask Nestor who it is that he is bearing away wounded from the field.
2 Patroclus did as his dear comrade had bidden him, and set off running by the ships and tents of the Achæans..
3 When the old man [Nestor] saw him he sprang from his seat, seized his hand, led him into the tent, and bade him take his place among them; but Patroclus stood where he was and said, "Noble sir, I may not stay, you cannot persuade me to come in; he that sent me is not one to be trifled with, and he bade me ask who the wounded man was whom you were bearing away from the field. I can now see for myself that he is Machaon, shepherd of his people. I must go back and tell Achilles. You, sir, know what a terrible man he is, and how ready to blame even where no blame should lie."
4 And Nestor answered, "Why should Achilles care to know how many of the Achæans may be wounded?... Will he wait till the ships, do what we may, are in a blaze, and we perish one upon the other?
5 "Old Peleus bade his son Achilles fight ever among the foremost and outvie his peers, while Menœtius the son of Actor spoke thus to you: 'My son,' said he, 'Achilles is of nobler birth than you are, but you are older than he, though he is far the better man of the two. Counsel him wisely, guide him in the right way, and he will follow you to his own profit.' Thus did your father charge you, but you have forgotten; nevertheless, even now, say all this to Achilles if he will listen to you. Who knows but with heaven's help you may talk him over, for it is good to take a friend's advice."
6 With these words he moved the heart of Patroclus, who set off running by the line of the ships to Achilles, descendant of AEacus
Passage 2: from The Song of Achilles by Madeline Miller
The narrator of the story is Patroclus.
7 "I heard you were here." A clear voice, like ice-melted streams
8 My head jerked up. I was in a storeroom, my knees against my chest, wedged between jars of thick-pressed olive oil. I had been dreaming myself a fish, silvered by sun as it leapt from the sea. The waves dissolved, became amphorae and grain sacks again.
9 It was Achilles, standing over me. His face was serious, the green of his eyes steady as he regarded me. I prickled with guilt. I was not supposed to be there and I knew it.
10 "I have been looking for you," he said. The words were expressionless; they carried no hint of anything I could read. "You have not been going to morning drills."
11 My face went red. Behind the guilt, anger rose slow and dull. It was his right to chastise me, but I hated him for it.
12 "How do you know? You aren't there."
13 "The master noticed, and spoke to my father."
14 "And he sent you." I wanted to make him feel ugly for his tale-bearing.
15 "No, I came on my own." Achilles' voice was cool, but I saw his jaw tighten, just a little. "I overheard them speaking. I have come to see if you are ill."
16 I did not answer. He studied me a moment
17 "My father is considering punishment," he said
18 "You are not ill," he said.
19 "No," I answered, dully.
20 "Then that will not serve as your excuse."
21 "What?" In my fear I could not follow him.
22 "Your excuse for where you have been." His voice was patient. "So you will not be punished. What will you say?"
23 "I don't know."
24 "You must say something."
25 His insistence sparked anger in me. "You are the prince," I snapped
26 That surprised him. He tilted his head a little, like a curious bird. "So?"
27 "So speak to your father, and say I was with you. He will excuse it." I said this more confidently than I felt.
28 The slightest crease appeared between his eyes. "I do not like to lie," he said
29 It was the sort of innocence other boys taunted out of you; even if you felt it, you did not say it.
30 "Then take me with you to your lessons," I said. "So it won't be a lie."
31 His eyebrows lifted, and he regarded me. He was utterly still, the type of quiet that I had thought could not belong to humans, a stilling of everything but breath and pulse-like a deer, listening for the hunter's bow. I found myself holding my breath
32 Then something shifted in his face. A decision.
33 "Come," he said.
34 "Where?" I was wary; perhaps now I would be punished for suggesting deceit.
35 "To my lyre lesson. So, as you say, it will not be a lie. After, we will speak with my father."
36 "Now?"
37 "Yes. Why not?" He watched me, curious. Why not?
38 When I stood to follow him, my limbs ached from so long seated on cool stone. My chest trilled with something I could not quite name. Escape, and danger, and hope all at once.
Passage 3: The Triumph of Achilles
by Louise Glück
1 In the story of Patroclus
no one survives, not even Achilles
who was nearly a god.
Patroclus resembled him; they wore
5 the same armor.
Always in these friendships
one serves the other, one is less than the other
the hierarchy is always apparent, though the legends
10 cannot be trusted-
their source is the survivor,
the one who has been abandoned.
What were the Greek ships on fire
compared to this loss?
15 In his tent, Achilles
grieved with his whole being
and the gods saw
he was a man already dead, a victim
of the part that loved,
20 the part that was mortal
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
Ancient Greek literature often explores the idea that heroes have tragic flaws that lead to their downfalls. What flaw does Patroclus imply that Achilles has in Passage 1?
Achilles trusts the advice of others too much.
Achilles has trouble focusing on a single task.
Achilles has unrealistic expectations for himself.
Achilles becomes enraged when things go wrong.
Part A
In Passage 1, Patroclus implies that Achilles has the flaw of:
Achilles becomes enraged when things go wrong.
This is suggested through Patroclus' acknowledgment of Achilles' readiness to blame others even when there isn't fault to be found, as he says, "You, sir, know what a terrible man he is, and how ready to blame even where no blame should lie." This indicates that Achilles may react with anger or frustration when faced with adversity or challenges in battle.
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
Ancient Greek literature often explores the idea that heroes have tragic flaws that lead to their downfalls. What flaw does Patroclus imply that Achilles has in Passage 1?
Achilles trusts the advice of others too much.
Achilles has trouble focusing on a single task.
Achilles has unrealistic expectations for himself.
Achilles becomes enraged when things go wrong.
Part A
Ancient Greek literature often explores the idea that heroes have tragic flaws that lead to their downfalls. What flaw does Patroclus imply that Achilles has in Passage 1?
Achilles trusts the advice of others too much.
Achilles has trouble focusing on a single task.
Achilles has unrealistic expectations for himself.
Achilles becomes enraged when things go wrong.
Part A
In Passage 1, Patroclus implies that Achilles has the flaw of:
Achilles becomes enraged when things go wrong.
This is suggested by Patroclus’ awareness of Achilles' temperament and how he is "ready to blame even where no blame should lie." This indicates that Achilles might react with anger or frustration when circumstances do not go in his favor, reflecting a tragic flaw in his character.
If you need assistance with Part B, feel free to provide the question!
Select the sentence from paragraph 3 that supports the answer in Part A.
'Noble sir, I may not stay, you cannot persuade me to come in; he that sent me is not one to be trifled with, and he bade me ask who the wounded man was whom you were bearing away from the field. I can now see for myself that he is Machaon, shepherd of his people. I must go back and tell Achilles. You, sir, know what a terrible man he is, and how ready to blame even where no blame should lie."
'Noble sir, I may not stay, you cannot persuade me to come in; he that sent me is not one to be trifled with, and he bade me ask who the wounded man was whom you were bearing away from the field. I can now see for myself that he is Machaon, shepherd of his people. I must go back and tell Achilles. You, sir, know what a terrible man he is, and how ready to blame even where no blame should lie."
The sentence from paragraph 3 that supports the answer in Part A is:
"You, sir, know what a terrible man he is, and how ready to blame even where no blame should lie."
This sentence indicates that Achilles has a tendency to react with anger or blame others in situations of stress, highlighting his tragic flaw.
Select the sentence from paragraph 3 that supports the answer in Part A.
'Noble sir, I may not stay, you cannot persuade me to come in; he that sent me is not one to be trifled with, and he bade me ask who the wounded man was whom you were bearing away from the field. I can now see for myself that he is Machaon, shepherd of his people. I must go back and tell Achilles. You, sir, know what a terrible man he is, and how ready to blame even where no blame should lie."
'Noble sir, I may not stay, you cannot persuade me to come in; he that sent me is not one to be trifled with, and he bade me ask who the wounded man was whom you were bearing away from the field. I can now see for myself that he is Machaon, shepherd of his people. I must go back and tell Achilles. You, sir, know what a terrible man he is, and how ready to blame even where no blame should lie."
The sentence from paragraph 3 that supports the answer in Part A is:
"You, sir, know what a terrible man he is, and how ready to blame even where no blame should lie."
This sentence directly indicates Achilles' tendency to become angry and to blame others, which aligns with the implied flaw identified in Part A.
Epic heroes often have abilities and advantages that the average person does not, and they often face larger-than-life challenges. How does Achilles embody an epic hero in Passage 1?
He comes from a noble lineage.
He gains the patronage of the gods.
He performs heroic deeds for recognition.
He confronts an impossible task by himself.
He comes from a noble lineage.
He gains the patronage of the gods.
He performs heroic deeds for recognition.
He confronts an impossible task by himself.
In Passage 1, Achilles embodies an epic hero primarily through the fact that:
He comes from a noble lineage.
Achilles is described as a great warrior and is referred to as the "son of Peleus," indicating his noble birth. This noble lineage is characteristic of epic heroes, who typically have exceptional backgrounds that set them apart from ordinary individuals. While the other options may apply to various aspects of heroism, the emphasis on noble lineage is a key aspect of Achilles as an epic hero highlighted in the passage.
Epic heroes often have abilities and advantages that the average person does not, and they often face larger-than-life challenges. How does Achilles embody an epic hero in Passage 1?
He comes from a noble lineage.
He gains the patronage of the gods.
He performs heroic deeds for recognition.
He confronts an impossible task by himself.
He comes from a noble lineage.
He gains the patronage of the gods.
He performs heroic deeds for recognition.
He confronts an impossible task by himself.
In Passage 1, Achilles embodies an epic hero primarily through the fact that:
He gains the patronage of the gods.
While the noble lineage of Achilles is significant, it is his close relationship with the gods, particularly through his mother Thetis, who is a sea goddess, that highlights his status as an epic hero. The involvement of divine beings amplifies his heroic status and suggests that he has advantages and support beyond that of an ordinary person.
This patronage connects him to larger-than-life challenges and emphasizes his role in the epic narrative of the Trojan War, underscoring his exceptional qualities as a hero.
Epic heroes often have abilities and advantages that the average person does not, and they often face larger-than-life challenges. How does Achilles embody an epic hero in Passage 1?
A. He comes from a noble lineage.
B. He gains the patronage of the gods.
C. He performs heroic deeds for recognition.
D. He confronts an impossible task by himself.
A. He comes from a noble lineage.
B. He gains the patronage of the gods.
C. He performs heroic deeds for recognition.
D. He confronts an impossible task by himself.
In Passage 1, Achilles embodies an epic hero in the following way:
A. He comes from a noble lineage.
Achilles is described as the son of Peleus, which highlights his noble birth and status as an epic hero. While he may also gain the patronage of the gods in the broader context of the "Iliad," the passage itself emphasizes his noble lineage as an important characteristic of his heroism.
Read this sentence from Passage 1.
"And Achilles answered, 'Noble son of Menœtius, man after my own heart, I take it that I shall now have the Achæans praying at my knees, for they are in great straits; go, Patroclus, and ask Nestor who it is that he is bearing away wounded from the field. ." (paragraph 1)
Which definition of straits matches the way the word is used in paragraph 1?
strict norms or rules
limits on space or time
situations of distress or difficulty
passages between two bodies of water
"And Achilles answered, 'Noble son of Menœtius, man after my own heart, I take it that I shall now have the Achæans praying at my knees, for they are in great straits; go, Patroclus, and ask Nestor who it is that he is bearing away wounded from the field. ." (paragraph 1)
Which definition of straits matches the way the word is used in paragraph 1?
strict norms or rules
limits on space or time
situations of distress or difficulty
passages between two bodies of water
In paragraph 1 of Passage 1, the word "straits" is used to refer to:
situations of distress or difficulty.
In the context of the sentence, Achilles is indicating that the Achaeans are in a dire situation, hence they are in "great straits." This conveys a sense of urgency and hardship.
Read this sentence from Passage 1.
"And Achilles answered, 'Noble son of Menœtius, man after my own heart, I take it that I shall now have the Achæans praying at my knees, for they are in great straits; go, Patroclus, and ask Nestor who it is that he is bearing away wounded from the field. ." (paragraph 1)
Which definition of straits matches the way the word is used in paragraph 1?
strict norms or rules
limits on space or time
situations of distress or difficulty
passages between two bodies of wate
"And Achilles answered, 'Noble son of Menœtius, man after my own heart, I take it that I shall now have the Achæans praying at my knees, for they are in great straits; go, Patroclus, and ask Nestor who it is that he is bearing away wounded from the field. ." (paragraph 1)
Which definition of straits matches the way the word is used in paragraph 1?
strict norms or rules
limits on space or time
situations of distress or difficulty
passages between two bodies of wate
In paragraph 1 of Passage 1, the word "straits" matches the definition of:
situations of distress or difficulty.
This usage indicates that the Achaeans are in a desperate situation, which aligns with the sense of hardship or trouble implied in the context of the sentence.
Select two ways in which Nestor uses rhetoric to persuade Patroclus in Passage 1.
A. Nestor prays to the gods for their assistance.
B. Nestor cites another authority figure who might agree.
C. Nestor contrasts his own decisions with those of Achilles.
D. Nestor suggests that the worst will happen without intervention.
E. Nestor draws a comparison between the current situation and historical examples.
A. Nestor prays to the gods for their assistance.
B. Nestor cites another authority figure who might agree.
C. Nestor contrasts his own decisions with those of Achilles.
D. Nestor suggests that the worst will happen without intervention.
E. Nestor draws a comparison between the current situation and historical examples.
In Passage 1, Nestor uses rhetoric to persuade Patroclus in the following two ways:
B. Nestor cites another authority figure who might agree.
Nestor references Menœtius, the father of Patroclus, to provide weight to his counsel. This establishes credibility and emphasizes the importance of following good advice.
D. Nestor suggests that the worst will happen without intervention.
Nestor expresses concern that they may be in danger if Achilles does not take action, implying that the situation could deteriorate further if not addressed. This creates a sense of urgency that aims to persuade Patroclus to encourage Achilles to fight.
Select two ways in which Nestor uses rhetoric to persuade Patroclus in Passage 1.
A. Nestor prays to the gods for their assistance.
B. Nestor cites another authority figure who might agree.
C. Nestor contrasts his own decisions with those of Achilles.
D. Nestor suggests that the worst will happen without intervention.
E. Nestor draws a comparison between the current situation and historical examples.
A. Nestor prays to the gods for their assistance.
B. Nestor cites another authority figure who might agree.
C. Nestor contrasts his own decisions with those of Achilles.
D. Nestor suggests that the worst will happen without intervention.
E. Nestor draws a comparison between the current situation and historical examples.
In Passage 1, Nestor uses rhetoric to persuade Patroclus in the following two ways:
B. Nestor cites another authority figure who might agree.
Nestor references the advice given by Patroclus' father, Menœtius, which adds credibility to his argument and shows that respected figures share his views.
D. Nestor suggests that the worst will happen without intervention.
Nestor warns about the dire consequences if Achilles does not take action, indicating that inaction could lead to disaster for the Achaeans. This use of urgency is intended to motivate Patroclus to persuade Achilles to engage in the battle.
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
Which universal theme does Passage 2 develop?
Society should value individuals who make their own decisions.
Leaders can sometimes be ignorant of the desires of individuals.
Individuals should put the needs of others above their own needs.
The wants of individuals can conflict with the expectations of others.
Part A
Which universal theme does Passage 2 develop?
Society should value individuals who make their own decisions.
Leaders can sometimes be ignorant of the desires of individuals.
Individuals should put the needs of others above their own needs.
The wants of individuals can conflict with the expectations of others.
Part A
The universal theme that Passage 2 develops is:
The wants of individuals can conflict with the expectations of others.
In Passage 2, Patroclus grapples with the expectations imposed on him by Achilles and their society, particularly in regard to attending morning drills and facing potential punishment. His desire to act according to his own wishes conflicts with what is expected of him, highlighting this theme of individual desire versus external expectation.
If you need help with Part B, please provide the question!
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
Which universal theme does Passage 2 develop?
Society should value individuals who make their own decisions.
Leaders can sometimes be ignorant of the desires of individuals.
Individuals should put the needs of others above their own needs.
The wants of individuals can conflict with the expectations of others.
Part A
Which universal theme does Passage 2 develop?
Society should value individuals who make their own decisions.
Leaders can sometimes be ignorant of the desires of individuals.
Individuals should put the needs of others above their own needs.
The wants of individuals can conflict with the expectations of others.
Part A
The universal theme that Passage 2 develops is:
The wants of individuals can conflict with the expectations of others.
In Passage 2, Patroclus faces the expectation from Achilles and society to attend drills and maintain discipline, while he struggles with his own desires and feelings. This highlights the conflict between personal wants and external expectations.
If you're ready for Part B, please provide the question!
Part B
How does Patroclus's characterization in Passage 2 contribute to the universal theme in Part A?
through Patroclus's close observation of Achilles
through Patroclus's confidence as he speaks to Achilles
through Patroclus's silence when Achilles confronts him
through Patroclus's surprise at seeing Achilles in the storeroom
How does Patroclus's characterization in Passage 2 contribute to the universal theme in Part A?
through Patroclus's close observation of Achilles
through Patroclus's confidence as he speaks to Achilles
through Patroclus's silence when Achilles confronts him
through Patroclus's surprise at seeing Achilles in the storeroom
Part B
Patroclus's characterization in Passage 2 contributes to the universal theme in Part A through Patroclus's silence when Achilles confronts him.
Patroclus's silence reflects his internal conflict and the pressure he feels from the expectations placed upon him by Achilles and society. It emphasizes the struggle between his personal desires and the expectations of others, highlighting the theme of how individual wants can conflict with societal demands. His lack of response in the face of Achilles's expectations shows how these pressures weigh on him.
How does Patroclus's characterization in Passage 2 contribute to the universal theme in Part A?
through Patroclus's close observation of Achilles
through Patroclus's confidence as he speaks to Achilles
through Patroclus's silence when Achilles confronts him
through Patroclus's surprise at seeing Achilles in the storeroom
through Patroclus's close observation of Achilles
through Patroclus's confidence as he speaks to Achilles
through Patroclus's silence when Achilles confronts him
through Patroclus's surprise at seeing Achilles in the storeroom
Patroclus's characterization in Passage 2 contributes to the universal theme in Part A through Patroclus's silence when Achilles confronts him.
His silence indicates his internal conflict and the pressure he feels from Achilles's expectations. Rather than assert himself or explain his situation, Patroclus remains quiet, highlighting the tension between his own desires and the demands placed upon him by others. This struggle underscores the theme that the wants of individuals can conflict with the expectations of others.
Read this paragraph from Passage 2.
8 My head jerked up. I was in a storeroom, my knees against my chest, wedged between jars of thick-pressed olive oil. I had been dreaming myself a fish, silvered by sun as it leapt from the sea. The waves dissolved, became amphorae and grain sacks again.
How does the figurative language in this paragraph contribute to the frustrated mood of Passage 2?
by suggesting that Patroclus dislikes the food available to him
by showing how Patroclus is unable to adapt to his environment
by demonstrating how Patroclus is better suited for intellectual work
by implying that Patroclus struggles to maintain his sense of freedom
8 My head jerked up. I was in a storeroom, my knees against my chest, wedged between jars of thick-pressed olive oil. I had been dreaming myself a fish, silvered by sun as it leapt from the sea. The waves dissolved, became amphorae and grain sacks again.
How does the figurative language in this paragraph contribute to the frustrated mood of Passage 2?
by suggesting that Patroclus dislikes the food available to him
by showing how Patroclus is unable to adapt to his environment
by demonstrating how Patroclus is better suited for intellectual work
by implying that Patroclus struggles to maintain his sense of freedom
The figurative language in this paragraph contributes to the frustrated mood of Passage 2 by implying that Patroclus struggles to maintain his sense of freedom.
The imagery of Patroclus dreaming of being a fish "silvered by sun as it leapt from the sea" suggests a desire for freedom and escape, contrasting with his physical confinement in the storeroom. This juxtaposition emphasizes his frustration with his current situation and the limitations placed upon him, enhancing the overall mood of frustration in the passage.
Read this paragraph from Passage 2.
8 My head jerked up. I was in a storeroom, my knees against my chest, wedged between jars of thick-pressed olive oil. I had been dreaming myself a fish, silvered by sun as it leapt from the sea. The waves dissolved, became amphorae and grain sacks again.
How does the figurative language in this paragraph contribute to the frustrated mood of Passage 2?
by suggesting that Patroclus dislikes the food available to him
by showing how Patroclus is unable to adapt to his environment
by demonstrating how Patroclus is better suited for intellectual work
by implying that Patroclus struggles to maintain his sense of freedom
8 My head jerked up. I was in a storeroom, my knees against my chest, wedged between jars of thick-pressed olive oil. I had been dreaming myself a fish, silvered by sun as it leapt from the sea. The waves dissolved, became amphorae and grain sacks again.
How does the figurative language in this paragraph contribute to the frustrated mood of Passage 2?
by suggesting that Patroclus dislikes the food available to him
by showing how Patroclus is unable to adapt to his environment
by demonstrating how Patroclus is better suited for intellectual work
by implying that Patroclus struggles to maintain his sense of freedom
The figurative language in this paragraph contributes to the frustrated mood of Passage 2 by implying that Patroclus struggles to maintain his sense of freedom.
The imagery of Patroclus dreaming of being a fish that leaps from the sea conveys a yearning for liberation and escape from his current confined situation. This contrast between his dream of freedom and his reality of being "wedged" in a storeroom underscores his frustration and highlights his desire to break free from the constraints he faces.
Read this sentence from Passage 2.
"He was utterly still, the type of quiet that I had thought could not belong to humans, a stilling of everything but breath and pulse-like a deer, listening for the hunter's bow." (paragraph 31)
What does the simile comparing Achilles to a deer suggest about him in this moment within Passage 2?
He is quick.
He is surprised.
He feels trapped.
He feels unequipped
"He was utterly still, the type of quiet that I had thought could not belong to humans, a stilling of everything but breath and pulse-like a deer, listening for the hunter's bow." (paragraph 31)
What does the simile comparing Achilles to a deer suggest about him in this moment within Passage 2?
He is quick.
He is surprised.
He feels trapped.
He feels unequipped
The simile comparing Achilles to a deer suggests that in this moment within Passage 2 he feels trapped.
The imagery of a deer listening for the hunter's bow implies a heightened sense of awareness and caution, suggesting that Achilles is on high alert and possibly feeling vulnerable or constrained in his situation. This comparison conveys a sense of stillness and tension, reflecting his internal state and the weight of the circumstances around him.
Read this sentence from Passage 2.
"He was utterly still, the type of quiet that I had thought could not belong to humans, a stilling of everything but breath and pulse-like a deer, listening for the hunter's bow." (paragraph 31)
What does the simile comparing Achilles to a deer suggest about him in this moment within Passage 2?
He is quick.
He is surprised.
He feels trapped.
He feels unequipped
"He was utterly still, the type of quiet that I had thought could not belong to humans, a stilling of everything but breath and pulse-like a deer, listening for the hunter's bow." (paragraph 31)
What does the simile comparing Achilles to a deer suggest about him in this moment within Passage 2?
He is quick.
He is surprised.
He feels trapped.
He feels unequipped
The simile comparing Achilles to a deer suggests that in this moment within Passage 2 he feels surprised.
The comparison to a deer, which is a creature that often freezes in place when sensing danger, indicates that Achilles is experiencing a moment of intense awareness or shock. This kind of stillness, along with the description of being "listening for the hunter's bow," suggests that he is absorbing the gravity of the situation, possibly as a reaction to unexpected developments.
Read this sentence from Passage 2.
"He was utterly still, the type of quiet that I had thought could not belong to humans, a stilling of everything but breath and pulse-like a deer, listening for the hunter's bow." (paragraph 31)
What does the simile comparing Achilles to a deer suggest about him in this moment within Passage 2?
A. He is quick.
B. He is surprised.
C. He feels trapped.
D. He feels unequipped
"He was utterly still, the type of quiet that I had thought could not belong to humans, a stilling of everything but breath and pulse-like a deer, listening for the hunter's bow." (paragraph 31)
What does the simile comparing Achilles to a deer suggest about him in this moment within Passage 2?
A. He is quick.
B. He is surprised.
C. He feels trapped.
D. He feels unequipped
The simile comparing Achilles to a deer suggests that in this moment within Passage 2 B. He is surprised.
The comparison to a deer listening for danger indicates a heightened state of alertness and awareness. This stillness may reflect a moment of shock or surprise as he processes the situation, emphasizing his focus and the tension around him.
The word "hierarchy" comes from the Greek word for "sacred ruler." Based on this information, what does the word "hierarchy" in line 8 suggest about the relationship between Achilles and Patroclus in Passage 3?
They share stories with each other.
They share similarities with each other.
One of them has more power than the other.
One of them is more religious than the other.
They share stories with each other.
They share similarities with each other.
One of them has more power than the other.
One of them is more religious than the other.
The word "hierarchy" in line 8 suggests that one of them has more power than the other.
In the context of Passage 3, the term "hierarchy" implies a structured relationship where there is a ranking or superiority between individuals. This indicates that there is a disparity in power or status between Achilles and Patroclus, reinforcing the idea that their relationship is not solely egalitarian but includes an element of authority and subordination.
The word "hierarchy" comes from the Greek word for "sacred ruler." Based on this information, what does the word "hierarchy" in line 8 suggest about the relationship between Achilles and Patroclus in Passage 3?
They share stories with each other.
They share similarities with each other.
One of them has more power than the other.
One of them is more religious than the other.
They share stories with each other.
They share similarities with each other.
One of them has more power than the other.
One of them is more religious than the other.
The word "hierarchy" in line 8 suggests that one of them has more power than the other.
In the context of the passage, "hierarchy" indicates a structured power dynamic in which there is a level of superiority or authority. This suggests that Achilles holds a position of greater power or status in relation to Patroclus, reflecting the nature of their relationship.
In Greek mythology, Achilles is incapable of being injured except at his heel. He eventually dies when he is wounded there. Select two details from Passage 3 that use this myth to create dramatic irony.
A. "no one survives, not even Achilles / who was nearly a god." (lines 2-3)
B. "Patroclus resembled him; they wore / the same armor." (lines 4-5)
C. "... though the legends / cannot be trusted-" (lines 9-10)
D. "In his tent, Achilles / grieved with his whole being" (lines 15-16)
E. "... a victim / of the part that loved, / the part that was mortal." (lines 18-20)
A. "no one survives, not even Achilles / who was nearly a god." (lines 2-3)
B. "Patroclus resembled him; they wore / the same armor." (lines 4-5)
C. "... though the legends / cannot be trusted-" (lines 9-10)
D. "In his tent, Achilles / grieved with his whole being" (lines 15-16)
E. "... a victim / of the part that loved, / the part that was mortal." (lines 18-20)
The two details from Passage 3 that use the myth of Achilles to create dramatic irony are:
A. "no one survives, not even Achilles / who was nearly a god." (lines 2-3)
This is dramatic irony because the reader knows that Achilles, despite his near invincibility, ultimately dies due to his heel, while the statement itself suggests an expectation of his survival.
E. "... a victim / of the part that loved, / the part that was mortal." (lines 18-20)
This detail also conveys dramatic irony, as it emphasizes Achilles' mortality and vulnerability, especially regarding his relationship with Patroclus. The reference to love highlights a deeper emotional aspect that ultimately contributes to his downfall, contrasting with his heroic reputation and invulnerability.
n Greek mythology, Achilles is incapable of being injured except at his heel. He eventually dies when he is wounded there. Select two details from Passage 3 that use this myth to create dramatic irony.
A. "no one survives, not even Achilles / who was nearly a god." (lines 2-3)
B. "Patroclus resembled him; they wore / the same armor." (lines 4-5)
C. "... though the legends / cannot be trusted-" (lines 9-10)
D. "In his tent, Achilles / grieved with his whole being" (lines 15-16)
E. "... a victim / of the part that loved, / the part that was mortal." (lines 18-20)
A. "no one survives, not even Achilles / who was nearly a god." (lines 2-3)
B. "Patroclus resembled him; they wore / the same armor." (lines 4-5)
C. "... though the legends / cannot be trusted-" (lines 9-10)
D. "In his tent, Achilles / grieved with his whole being" (lines 15-16)
E. "... a victim / of the part that loved, / the part that was mortal." (lines 18-20)
The two details from Passage 3 that use the myth of Achilles to create dramatic irony are:
A. "no one survives, not even Achilles / who was nearly a god." (lines 2-3)
This line creates dramatic irony because it foreshadows Achilles' fate; he is depicted as nearly invincible but ultimately succumbs, which contrasts with the expectations of his strength and invulnerability.
E. "... a victim / of the part that loved, / the part that was mortal." (lines 18-20)
This detail introduces irony by highlighting Achilles' vulnerability through love, emphasizing that despite his immense power, he is still human and subject to mortal weaknesses. It points to the emotional aspects that lead to his ultimate downfall, deepening the tragic irony of his heroism.
How does Passage 3 develop the universal theme that the ability to feel is a fundamental human characteristic? Select two options.
through the implied indifference of the gods
through the sophisticated nature of the gods
through the telling of what makes Achilles mortal
through the description of Patroclus as someone who left
through the reference to legends written from one perspective
through the implied indifference of the gods
through the sophisticated nature of the gods
through the telling of what makes Achilles mortal
through the description of Patroclus as someone who left
through the reference to legends written from one perspective
Passage 3 develops the universal theme that the ability to feel is a fundamental human characteristic in the following two ways:
Through the telling of what makes Achilles mortal.
This highlights the emotional aspects of Achilles's character, particularly his capacity for love and grief, which are essential elements of the human experience.
Through the description of Patroclus as someone who left.
This detail underscores the emotional impact of loss and separation, emphasizing that the ability to feel deeply—whether it be love, grief, or longing—is an intrinsic part of being human.
Together, these aspects illustrate how feelings and emotions are central to the characters' experiences, thus reinforcing the theme.
How does Passage 3 develop the universal theme that the ability to feel is a fundamental human characteristic? Select two options.
A. through the implied indifference of the gods
B. through the sophisticated nature of the gods
C. through the telling of what makes Achilles mortal
D. through the description of Patroclus as someone who left
E. through the reference to legends written from one perspective
A. through the implied indifference of the gods
B. through the sophisticated nature of the gods
C. through the telling of what makes Achilles mortal
D. through the description of Patroclus as someone who left
E. through the reference to legends written from one perspective
Passage 3 develops the universal theme that the ability to feel is a fundamental human characteristic in the following two ways:
C. through the telling of what makes Achilles mortal.
This emphasizes Achilles' capacity for love and grief, showcasing how these emotions contribute to his humanity.
D. through the description of Patroclus as someone who left.
This reflects the emotional impact of loss and separation, highlighting the deep feelings associated with relationships and the human experience.
Together, these elements illustrate the centrality of emotions in defining what it means to be human.
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
Read these sentences from Passage 1.
"My son," said [Menœtius], "Achilles is of nobler birth than you are, but you are older than he, though he is far the better man of the two. Counsel him wisely, guide him in the right way, and he will follow you to his own profit.""" (paragraph 5)
How does Passage 2 adapt this concept of the relationship between Achilles and Patroclus?
Passage 2 highlights how close in age Achilles and Patroclus are.
Passage 2 provides an example of how Patroclus influences Achilles.
Passage 2 shows that both Achilles and Patroclus are limited in power.
Passage 2 demonstrates how Achilles resents Patroclus for giving advice.
Part A
Read these sentences from Passage 1.
"My son," said [Menœtius], "Achilles is of nobler birth than you are, but you are older than he, though he is far the better man of the two. Counsel him wisely, guide him in the right way, and he will follow you to his own profit.""" (paragraph 5)
How does Passage 2 adapt this concept of the relationship between Achilles and Patroclus?
Passage 2 highlights how close in age Achilles and Patroclus are.
Passage 2 provides an example of how Patroclus influences Achilles.
Passage 2 shows that both Achilles and Patroclus are limited in power.
Passage 2 demonstrates how Achilles resents Patroclus for giving advice.
Part A
Passage 2 adapts the concept of the relationship between Achilles and Patroclus by:
Passage 2 provides an example of how Patroclus influences Achilles.
In Passage 2, while there may be tension between them, Patroclus’s desire to suggest actions and his influence on Achilles’s decisions reflect the dynamic of guidance and counsel mentioned by Menœtius in Passage 1. This highlights Patroclus's role in encouraging Achilles to consider certain actions or behaviors, reinforcing the idea of their relationship as one where Patroclus can guide and influence Achilles.
If you have a Part B question, please provide it, and I'll be glad to help!
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
Read these sentences from Passage 1.
"My son," said [Menœtius], "Achilles is of nobler birth than you are, but you are older than he, though he is far the better man of the two. Counsel him wisely, guide him in the right way, and he will follow you to his own profit.""" (paragraph 5)
How does Passage 2 adapt this concept of the relationship between Achilles and Patroclus?
Passage 2 highlights how close in age Achilles and Patroclus are.
Passage 2 provides an example of how Patroclus influences Achilles.
Passage 2 shows that both Achilles and Patroclus are limited in power.
Passage 2 demonstrates how Achilles resents Patroclus for giving advice.
Part A
Read these sentences from Passage 1.
"My son," said [Menœtius], "Achilles is of nobler birth than you are, but you are older than he, though he is far the better man of the two. Counsel him wisely, guide him in the right way, and he will follow you to his own profit.""" (paragraph 5)
How does Passage 2 adapt this concept of the relationship between Achilles and Patroclus?
Passage 2 highlights how close in age Achilles and Patroclus are.
Passage 2 provides an example of how Patroclus influences Achilles.
Passage 2 shows that both Achilles and Patroclus are limited in power.
Passage 2 demonstrates how Achilles resents Patroclus for giving advice.
Part A
Passage 2 adapts the concept of the relationship between Achilles and Patroclus by:
Passage 2 provides an example of how Patroclus influences Achilles.
In Passage 2, Patroclus navigates his relationship with Achilles by attempting to persuade him regarding his actions, which reflects the guiding role suggested by Menœtius in Passage 1. This shows that Patroclus’s counsel can have an impact on Achilles, aligning with the idea that he can influence Achilles’s choices for his benefit.
If you need assistance with Part B, please provide the question!
Part B
How does Passage 3 adapt this concept of their relationship differently than Passage 2?
Passage 3 suggests Patroclus may be the better person.
Passage 3 indicates Patroclus might leave Achilles willingly.
Passage 3 demonstrates that Patroclus gives Achilles bad advice.
Passage 3 deepens the connection shared by Patroclus and Achilles
How does Passage 3 adapt this concept of their relationship differently than Passage 2?
Passage 3 suggests Patroclus may be the better person.
Passage 3 indicates Patroclus might leave Achilles willingly.
Passage 3 demonstrates that Patroclus gives Achilles bad advice.
Passage 3 deepens the connection shared by Patroclus and Achilles
Part B
Passage 3 adapts the concept of the relationship between Achilles and Patroclus differently than Passage 2 by:
Passage 3 suggests Patroclus may be the better person.
In Passage 3, there is an implicit understanding of Patroclus's character in the context of his relationship with Achilles. The focus on his emotional depth and the suffering he endures may imply virtues that position him as a more relatable or admirable figure compared to Achilles, who is often portrayed as more powerful but also more tragic in his flaws. This contrast highlights different aspects of their relationship and characterizations throughout the passages.
Part B
How does Passage 3 adapt this concept of their relationship differently than Passage 2?
Passage 3 suggests Patroclus may be the better person.
Passage 3 indicates Patroclus might leave Achilles willingly.
Passage 3 demonstrates that Patroclus gives Achilles bad advice.
Passage 3 deepens the connection shared by Patroclus and Achilles
How does Passage 3 adapt this concept of their relationship differently than Passage 2?
Passage 3 suggests Patroclus may be the better person.
Passage 3 indicates Patroclus might leave Achilles willingly.
Passage 3 demonstrates that Patroclus gives Achilles bad advice.
Passage 3 deepens the connection shared by Patroclus and Achilles
Part B
Passage 3 adapts the concept of the relationship between Achilles and Patroclus differently than Passage 2 by:
Passage 3 suggests Patroclus may be the better person.
In Passage 3, the portrayal of Patroclus evokes sympathy and highlights his emotional depth, particularly in relation to his bond with Achilles. This suggests that Patroclus possesses qualities that can be viewed as more virtuous compared to Achilles, aligning him with the idea of moral superiority, especially in the context of love and sacrifice. This presents a different perspective on their relationship compared to Passage 2, where the influence dynamics are more pronounced.
Passage 2 is set during a different time of Achilles's and Patroclus's lives than Passages 1 and 3 are. What is the effect of this difference in setting?
It explores their responsibilities.
It explores how their friendship began.
It explores how others influenced them.
It explores their feelings about each other.
It explores their responsibilities.
It explores how their friendship began.
It explores how others influenced them.
It explores their feelings about each other.
The effect of the difference in setting in Passage 2, which is set during a different time in Achilles's and Patroclus's lives compared to Passages 1 and 3, is that:
It explores their feelings about each other.
In Passage 2, the focus on their interactions and the emotional dynamics between them allows for a deeper exploration of their personal feelings. This contrasts with the earlier passages, which may focus more on their roles in the context of war and duty. By showcasing a different time in their lives, Passage 2 highlights the nuances in their relationship and reinforces the emotional undercurrents that define their bond.
Passage 2 is set during a different time of Achilles's and Patroclus's lives than Passages 1 and 3 are. What is the effect of this difference in setting?
It explores their responsibilities.
It explores how their friendship began.
It explores how others influenced them.
It explores their feelings about each other.
It explores their responsibilities.
It explores how their friendship began.
It explores how others influenced them.
It explores their feelings about each other.
The effect of the difference in setting in Passage 2, which is set during a different time in Achilles's and Patroclus's lives compared to Passages 1 and 3, is:
It explores their feelings about each other.
This different time allows for a focus on their emotional dynamics, showcasing how they relate to each other in a more personal and intimate context rather than strictly in terms of their roles in the conflict or responsibilities. This emphasis on feelings enriches the understanding of their relationship and adds depth to their characters.
Passage 1: Taking Photos Won't Take You Out of the Moment, Study Suggests
by Steph Yin
1 On Monday, I will be one of millions watching the moon punch a hole in the sun during the Great American Eclipse of 2017. In preparation, I've been thinking about how I want to spend my roughly two minutes of totality, when day surrenders, briefly, to coronal night. Should I try to capture my experience with photos? Or should I soak in the moment as deeply as I can?
2 These two goals may not actually be in opposition, according to a study in this month's issue of Psychological Science. In several experiments, researchers found that taking photos during an experience helped people remember visuals more accurately, even when they didn't revisit their photos. However, snapping pictures also appeared to decrease how much spoken information people retained.
3 The results follow research published last year by the same group, which found that photo- taking made people more engaged with experiences, leading them to enjoy positive events more than people who didn't take pictures.
4 By some estimates, people around world will take 1.3 trillion photos this year. "It's a thing that's taking over our lives," said Alix Barasch, one of the authors and an assistant professor at the New York University Stern School of Business, "yet nobody has really studied the psychological effects of taking pictures."
5 In the recent study, Dr. Barasch and colleagues asked people to walk through a museum exhibit while listening to an audio guide, and either take photos freely or leave their phones and cameras outside.
6 Afterward, when given a memory test, those who took pictures better recalled objects they had seen, but were less able to remember facts from the audio guide, than those who didn't take pictures. Focusing on visuals pulls our attention away from other senses, like hearing, Dr. Barasch explained.
7 In related experiments, participants toured virtual art galleries with the option to take onscreen snapshots. The researchers found similar gains in memory when participants were asked to take screenshots compared with conjuring mental images.
8 The findings suggest that the process of looking around for what to photograph "actually causes you to encode visual content and remember it," Dr. Barasch said.
9 Linda Henkel, a professor of psychology at Fairfield University, thought the study was noteworthy because it challenges the popular assumption that taking photos is often a distraction.
10 Dr. Barasch said she too initially suspected that casual photography was removing people from the moment. "But as we collected more and more data over the course of five or six years, we kept finding that photo taking was actually immersing people more in experiences," she said....
11 As for whether I should take photos during the eclipse, Dr. Barasch encouraged me to go for it....
12 I suspect the decision will come to me in the final moments. Veteran eclipse chasers warn against wasting totality getting photos, and I know my amateur photography skills won't do the sky justice. But taking just a few photos or videos to document the mood around me, as the horizon becomes a 360- degree sunset, the wind picks up, people gasp and maybe even birds or crickets start chirping? That's something I might get joy out of in the moment, and for years to come.
Passage 2: Take Photos to Remember Your Experiences? Think Again by Robert Siegel
This passage is a transcript from a radio program hosted by Robert Siegel and Audie Cornish.
13 CORNISH: Our phones are now filled with selfies, vacations, grocery lists....
14 CORNISH: But those endless pictures got us thinking: are we actually remembering less as we take more photographs?
15 GEORGE CLOONEY: We've lost our sense of actually experiencing things. We're just constantly recording things.
16 CORNISH: That's the actor George Clooney. Two years ago he told my co-host Robert Siegel why camera phones have made it even harder for him to connect with fans.
17 CLOONEY: You'll reach out to shake out their hand and they've got a camera in their hand. And they don't even get their hand out because they're recording the whole time. And you can tell people that you've recorded Brad Pitt but it'd be very hard for you to say you actually met him because you were watching it all through your phone. I think that's too bad because I think people are experiencing less and recording more.
18 CORNISH: Well that idea-whether we are experiencing less as we record more-got psychologist Linda Henkel thinking. She researches human memory at Fairfield University in Connecticut. Her father was a photographer and she wanted to explore how photographs shape our memories. Professor Henkel began her experiment by sending groups of students to the university's art museum
19 LINDA HENKEL: Everybody both looked at some objects and photographed some objects. And then I had them come back a day later over to my laboratory and I gave a memory test on, well, which objects do you remember seeing before? And what the results showed was what I called a photo-taking impairment effect. The objects that they had taken photos of they actually remembered fewer of them and remembered fewer details about those objects, like how was the statue's hands positioned or what was the statue wearing on its head. They remember fewer of the details if they took photos of them rather than if they had just looked at them.
20 CORNISH: Now, you've said that people mistake photographs for memories and that photographs are actually a memory retrieval tool. Explain what that means.
21 HENKEL: Well, when we talk about remembering an experience, the experience is so much richer than just the static thing that's caught in a photograph. You know, you go to the Grand Canyon, which is more magnificent than any photograph can take. No matter how beautiful the photograph is, it doesn't capture that feeling, that sense of awe that you have. So, a photo really is a pale version, one interpretation of reality. And so I think what winds up happening is, you know, human memories are shapeable. Human memories change over time. So, a photograph is a static image. You pull it out and it's the same thing each time, and that's great 'cause it's a reliable image of that. But hunan memory isn't like that. Each time I remember what my high school graduation was like, I might be coloring and changing that memory because of my current perspective, because of new ideas that I have or things that I learned afterwards. So, human memory is much more dynamic than photographs are capable of
22 CORNISH: So, Linda Henkel, what are you advocating here for? It's not that people should put away their smartphones altogether. I mean, there is still a place for this in modern life, obviously. People are capturing memories
23 HENKEL: Absolutely. I think taking pictures is a wonderful thing to do because it provides such rich retrieval cues later on. So, when you take a picture of you standing next to the Grand Canyon, those are the clothes you were wearing and that is what the Grand Canyon looked like that day. I think it's just a matter of taking more mindful pictures, taking pictures that you want to remember, or just really reassessing why you're taking photos. I think the functions of photography are changing because of the technology. I don't think we're necessarily taking photos so we can remember our experiences. I think some of the photos we're taking are so we can brag about our experiences and...just show other people, oh, look at the fabulous life that I'm having. And so, you know, if those are the functions that you're trying to serve, the new technology may be doing that really well. But I don't know that the new technology is serving the functions of preserving memories quite as well unless you take the extra step and actually look at the photos and revive those memories from them.
Read this sentence from Passage 1.
"On Monday, I will be one of millions watching the moon punch a hole in the sun during the Great American Eclipse of 2017." (paragraph 1)
How does the phrase "punch a hole in the sun" affect the paragraph?
It creates a frustrated mood by suggesting that the eclipse will be fast.
It creates an excited mood by suggesting that the eclipse will be impressive.
It creates an anxious mood by suggesting that the eclipse will be dangerous.
It creates a victorious mood by suggesting that the eclipse will be extraordinary.
by Steph Yin
1 On Monday, I will be one of millions watching the moon punch a hole in the sun during the Great American Eclipse of 2017. In preparation, I've been thinking about how I want to spend my roughly two minutes of totality, when day surrenders, briefly, to coronal night. Should I try to capture my experience with photos? Or should I soak in the moment as deeply as I can?
2 These two goals may not actually be in opposition, according to a study in this month's issue of Psychological Science. In several experiments, researchers found that taking photos during an experience helped people remember visuals more accurately, even when they didn't revisit their photos. However, snapping pictures also appeared to decrease how much spoken information people retained.
3 The results follow research published last year by the same group, which found that photo- taking made people more engaged with experiences, leading them to enjoy positive events more than people who didn't take pictures.
4 By some estimates, people around world will take 1.3 trillion photos this year. "It's a thing that's taking over our lives," said Alix Barasch, one of the authors and an assistant professor at the New York University Stern School of Business, "yet nobody has really studied the psychological effects of taking pictures."
5 In the recent study, Dr. Barasch and colleagues asked people to walk through a museum exhibit while listening to an audio guide, and either take photos freely or leave their phones and cameras outside.
6 Afterward, when given a memory test, those who took pictures better recalled objects they had seen, but were less able to remember facts from the audio guide, than those who didn't take pictures. Focusing on visuals pulls our attention away from other senses, like hearing, Dr. Barasch explained.
7 In related experiments, participants toured virtual art galleries with the option to take onscreen snapshots. The researchers found similar gains in memory when participants were asked to take screenshots compared with conjuring mental images.
8 The findings suggest that the process of looking around for what to photograph "actually causes you to encode visual content and remember it," Dr. Barasch said.
9 Linda Henkel, a professor of psychology at Fairfield University, thought the study was noteworthy because it challenges the popular assumption that taking photos is often a distraction.
10 Dr. Barasch said she too initially suspected that casual photography was removing people from the moment. "But as we collected more and more data over the course of five or six years, we kept finding that photo taking was actually immersing people more in experiences," she said....
11 As for whether I should take photos during the eclipse, Dr. Barasch encouraged me to go for it....
12 I suspect the decision will come to me in the final moments. Veteran eclipse chasers warn against wasting totality getting photos, and I know my amateur photography skills won't do the sky justice. But taking just a few photos or videos to document the mood around me, as the horizon becomes a 360- degree sunset, the wind picks up, people gasp and maybe even birds or crickets start chirping? That's something I might get joy out of in the moment, and for years to come.
Passage 2: Take Photos to Remember Your Experiences? Think Again by Robert Siegel
This passage is a transcript from a radio program hosted by Robert Siegel and Audie Cornish.
13 CORNISH: Our phones are now filled with selfies, vacations, grocery lists....
14 CORNISH: But those endless pictures got us thinking: are we actually remembering less as we take more photographs?
15 GEORGE CLOONEY: We've lost our sense of actually experiencing things. We're just constantly recording things.
16 CORNISH: That's the actor George Clooney. Two years ago he told my co-host Robert Siegel why camera phones have made it even harder for him to connect with fans.
17 CLOONEY: You'll reach out to shake out their hand and they've got a camera in their hand. And they don't even get their hand out because they're recording the whole time. And you can tell people that you've recorded Brad Pitt but it'd be very hard for you to say you actually met him because you were watching it all through your phone. I think that's too bad because I think people are experiencing less and recording more.
18 CORNISH: Well that idea-whether we are experiencing less as we record more-got psychologist Linda Henkel thinking. She researches human memory at Fairfield University in Connecticut. Her father was a photographer and she wanted to explore how photographs shape our memories. Professor Henkel began her experiment by sending groups of students to the university's art museum
19 LINDA HENKEL: Everybody both looked at some objects and photographed some objects. And then I had them come back a day later over to my laboratory and I gave a memory test on, well, which objects do you remember seeing before? And what the results showed was what I called a photo-taking impairment effect. The objects that they had taken photos of they actually remembered fewer of them and remembered fewer details about those objects, like how was the statue's hands positioned or what was the statue wearing on its head. They remember fewer of the details if they took photos of them rather than if they had just looked at them.
20 CORNISH: Now, you've said that people mistake photographs for memories and that photographs are actually a memory retrieval tool. Explain what that means.
21 HENKEL: Well, when we talk about remembering an experience, the experience is so much richer than just the static thing that's caught in a photograph. You know, you go to the Grand Canyon, which is more magnificent than any photograph can take. No matter how beautiful the photograph is, it doesn't capture that feeling, that sense of awe that you have. So, a photo really is a pale version, one interpretation of reality. And so I think what winds up happening is, you know, human memories are shapeable. Human memories change over time. So, a photograph is a static image. You pull it out and it's the same thing each time, and that's great 'cause it's a reliable image of that. But hunan memory isn't like that. Each time I remember what my high school graduation was like, I might be coloring and changing that memory because of my current perspective, because of new ideas that I have or things that I learned afterwards. So, human memory is much more dynamic than photographs are capable of
22 CORNISH: So, Linda Henkel, what are you advocating here for? It's not that people should put away their smartphones altogether. I mean, there is still a place for this in modern life, obviously. People are capturing memories
23 HENKEL: Absolutely. I think taking pictures is a wonderful thing to do because it provides such rich retrieval cues later on. So, when you take a picture of you standing next to the Grand Canyon, those are the clothes you were wearing and that is what the Grand Canyon looked like that day. I think it's just a matter of taking more mindful pictures, taking pictures that you want to remember, or just really reassessing why you're taking photos. I think the functions of photography are changing because of the technology. I don't think we're necessarily taking photos so we can remember our experiences. I think some of the photos we're taking are so we can brag about our experiences and...just show other people, oh, look at the fabulous life that I'm having. And so, you know, if those are the functions that you're trying to serve, the new technology may be doing that really well. But I don't know that the new technology is serving the functions of preserving memories quite as well unless you take the extra step and actually look at the photos and revive those memories from them.
Read this sentence from Passage 1.
"On Monday, I will be one of millions watching the moon punch a hole in the sun during the Great American Eclipse of 2017." (paragraph 1)
How does the phrase "punch a hole in the sun" affect the paragraph?
It creates a frustrated mood by suggesting that the eclipse will be fast.
It creates an excited mood by suggesting that the eclipse will be impressive.
It creates an anxious mood by suggesting that the eclipse will be dangerous.
It creates a victorious mood by suggesting that the eclipse will be extraordinary.
The phrase "punch a hole in the sun" affects the paragraph by:
It creates an excited mood by suggesting that the eclipse will be impressive.
This vivid and dramatic imagery conveys a sense of awe and anticipation about the eclipse, making it seem like a remarkable and extraordinary event. It captures the reader's imagination and sets a tone of excitement for the experience being described.
Read this sentence from Passage 1.
"On Monday, I will be one of millions watching the moon punch a hole in the sun during the Great American Eclipse of 2017." (paragraph 1)
How does the phrase "punch a hole in the sun" affect the paragraph?
It creates a frustrated mood by suggesting that the eclipse will be fast.
It creates an excited mood by suggesting that the eclipse will be impressive.
It creates an anxious mood by suggesting that the eclipse will be dangerous.
It creates a victorious mood by suggesting that the eclipse will be extraordinary.
"On Monday, I will be one of millions watching the moon punch a hole in the sun during the Great American Eclipse of 2017." (paragraph 1)
How does the phrase "punch a hole in the sun" affect the paragraph?
It creates a frustrated mood by suggesting that the eclipse will be fast.
It creates an excited mood by suggesting that the eclipse will be impressive.
It creates an anxious mood by suggesting that the eclipse will be dangerous.
It creates a victorious mood by suggesting that the eclipse will be extraordinary.
The phrase "punch a hole in the sun" affects the paragraph by:
It creates an excited mood by suggesting that the eclipse will be impressive.
The expressive imagery evokes a sense of grandeur and wonder, capturing the anticipation of a stunning and memorable event. This phrase emphasizes the awe-inspiring nature of the eclipse, thus generating excitement about the experience.
Read this sentence from Passage 1.
"By some estimates, people around the world will take 1.3 trillion photos this year." (paragraph 4)
How does the author use this appeal to logic?
to explain why psychologists believe people enjoy taking photos
to establish the importance of studying the effects of photography
to support the idea that people use photography to preserve memories
to show why taking photos has become a frequent activity at social events
"By some estimates, people around the world will take 1.3 trillion photos this year." (paragraph 4)
How does the author use this appeal to logic?
to explain why psychologists believe people enjoy taking photos
to establish the importance of studying the effects of photography
to support the idea that people use photography to preserve memories
to show why taking photos has become a frequent activity at social events
The author uses this appeal to logic to establish the importance of studying the effects of photography.
By presenting a statistic about the vast number of photos taken globally, the author highlights the prevalence and significance of photography in modern life. This rationale underscores the need for research into its psychological effects, as such a widespread activity likely has substantial implications on people's experiences and memories.
Read this sentence from Passage 1.
"By some estimates, people around the world will take 1.3 trillion photos this year." (paragraph 4)
How does the author use this appeal to logic?
to explain why psychologists believe people enjoy taking photos
to establish the importance of studying the effects of photography
to support the idea that people use photography to preserve memories
to show why taking photos has become a frequent activity at social events
"By some estimates, people around the world will take 1.3 trillion photos this year." (paragraph 4)
How does the author use this appeal to logic?
to explain why psychologists believe people enjoy taking photos
to establish the importance of studying the effects of photography
to support the idea that people use photography to preserve memories
to show why taking photos has become a frequent activity at social events
The author uses this appeal to logic to establish the importance of studying the effects of photography.
By highlighting the staggering number of photos people take annually, the author underscores the significance of photography in contemporary life, suggesting that such widespread activity warrants investigation into its psychological and social effects.
In Passage 1, what is the meaning of the word conjuring as it is used in paragraph 7?
developing without a plan
imagining a possible outcome
requesting from an outside source
recreating based on an experience
developing without a plan
imagining a possible outcome
requesting from an outside source
recreating based on an experience
In Passage 1, the meaning of the word "conjuring" as it is used in paragraph 7 is:
recreating based on an experience.
In this context, "conjuring" suggests the act of bringing to mind or recreating mental images from memory, which aligns with the idea of vividly recalling and imagining past experiences rather than simply visualizing them.
In Passage 1, what is the meaning of the word conjuring as it is used in paragraph 7?
developing without a plan
imagining a possible outcome
requesting from an outside source
recreating based on an experience
developing without a plan
imagining a possible outcome
requesting from an outside source
recreating based on an experience
In Passage 1, the meaning of the word "conjuring" as it is used in paragraph 7 is:
recreating based on an experience.
In this context, "conjuring" refers to the act of vividly recalling or bringing to mind mental images or memories from past experiences, rather than merely imagining or fantasizing about something.
Passage 1 begins and ends by referring to the author's personal situation. How does this structure affect the development of ideas in the passage?
It explains the author's knowledge of memory studies.
It specifies the stages of the sun's appearance during an eclipse.
It relates the author's interest in photography to the study of eclipses.
It connects the description of the research's findings to a specific example.
It explains the author's knowledge of memory studies.
It specifies the stages of the sun's appearance during an eclipse.
It relates the author's interest in photography to the study of eclipses.
It connects the description of the research's findings to a specific example.
The structure of Passage 1, by beginning and ending with the author's personal situation, affects the development of ideas in the passage in that:
It connects the description of the research's findings to a specific example.
By framing the study with the author's personal experience of preparing for the eclipse, the passage effectively illustrates how the research findings on photography and memory intertwine with real-life events. This connection helps to contextualize the research, making it more relatable and emphasizing its relevance to everyday experiences.
Passage 1 begins and ends by referring to the author's personal situation. How does this structure affect the development of ideas in the passage?
It explains the author's knowledge of memory studies.
It specifies the stages of the sun's appearance during an eclipse.
It relates the author's interest in photography to the study of eclipses.
It connects the description of the research's findings to a specific example.
It explains the author's knowledge of memory studies.
It specifies the stages of the sun's appearance during an eclipse.
It relates the author's interest in photography to the study of eclipses.
It connects the description of the research's findings to a specific example.
The structure of Passage 1, which begins and ends with the author's personal situation, affects the development of ideas in the passage in that:
It connects the description of the research's findings to a specific example.
By starting and finishing with the author's experience of the eclipse, the passage illustrates how the research on photography and memory relates to a real-life event. This personal framing emphasizes the practical implications of the research, making the findings more relatable and demonstrating their relevance to everyday experiences, such as witnessing an eclipse.
Select the sentence from paragraph 17 of Passage 2 that uses an emotional appeal to show that cameras detract from memory.
17 CLOONEY: You'll reach out to shake out their hand and they've got a camera in their hand. And they don't even get their hand out because they're recording the whole time. And you can tell people that you've recorded Brad Pitt but it'd be very hard for you to say you actually met him because you were watching it all through your phone. I think that's too bad because I think people are experiencing less and recording more
17 CLOONEY: You'll reach out to shake out their hand and they've got a camera in their hand. And they don't even get their hand out because they're recording the whole time. And you can tell people that you've recorded Brad Pitt but it'd be very hard for you to say you actually met him because you were watching it all through your phone. I think that's too bad because I think people are experiencing less and recording more
The sentence from paragraph 17 of Passage 2 that uses an emotional appeal to show that cameras detract from memory is:
"And you can tell people that you've recorded Brad Pitt but it'd be very hard for you to say you actually met him because you were watching it all through your phone."
This sentence emphasizes the emotional disconnect that results from focusing on recording rather than fully experiencing an interaction. It highlights how the act of recording can diminish the authenticity of genuine encounters, invoking a sense of loss regarding meaningful experiences.
Select the sentence from paragraph 17 of Passage 2 that uses an emotional appeal to show that cameras detract from memory.
17 CLOONEY: You'll reach out to shake out their hand and they've got a camera in their hand. And they don't even get their hand out because they're recording the whole time. And you can tell people that you've recorded Brad Pitt but it'd be very hard for you to say you actually met him because you were watching it all through your phone. I think that's too bad because I think people are experiencing less and recording more
17 CLOONEY: You'll reach out to shake out their hand and they've got a camera in their hand. And they don't even get their hand out because they're recording the whole time. And you can tell people that you've recorded Brad Pitt but it'd be very hard for you to say you actually met him because you were watching it all through your phone. I think that's too bad because I think people are experiencing less and recording more
The sentence from paragraph 17 of Passage 2 that uses an emotional appeal to show that cameras detract from memory is:
"I think that's too bad because I think people are experiencing less and recording more."
This statement conveys a sense of regret and sadness about the loss of genuine experiences in favor of recording moments. It emphasizes the emotional impact of this phenomenon, suggesting that people's ability to create meaningful memories is compromised by their focus on capturing images.
Select the sentence from paragraph 17 of Passage 2 that uses an emotional appeal to show that cameras detract from memory.
17 CLOONEY: You'll reach out to shake out their hand and they've got a camera in their hand. And they don't even get their hand out because they're recording the whole time. And you can tell people that you've recorded Brad Pitt but it'd be very hard for you to say you actually met him because you were watching it all through your phone. I think that's too bad because I think people are experiencing less and recording more.
17 CLOONEY: You'll reach out to shake out their hand and they've got a camera in their hand. And they don't even get their hand out because they're recording the whole time. And you can tell people that you've recorded Brad Pitt but it'd be very hard for you to say you actually met him because you were watching it all through your phone. I think that's too bad because I think people are experiencing less and recording more.
The sentence from paragraph 17 of Passage 2 that uses an emotional appeal to show that cameras detract from memory is:
"I think that's too bad because I think people are experiencing less and recording more."
This sentence expresses a sense of regret and disappointment, highlighting the emotional weight of losing authentic experiences in favor of recording them. It conveys the idea that the act of recording diminishes the quality of real-life interactions, fostering a feeling of nostalgia for genuine connection.
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
Which evidence from Passage 1 develops the central idea that taking photos can improve an experience?
""It's a thing that's taking over our lives,' said Alix Barasch, one of the authors and an assistant professor at the New York University Stern School of Business, 'yet nobody has really studied the psychological effects of taking pictures." (paragraph 4)
"In the recent study, Dr. Barasch and colleagues asked people to walk through a museum exhibit while listening to an audio guide, and either take photos freely or leave their phones and cameras outside." (paragraph 5)
through a museum exhibit while listening to an audio guide, and either take photos freely or leave their phones and cameras outside." (paragraph 5)
"The findings suggest that the process of looking around for what to photograph 'actually causes you to encode visual content and remember it, Dr. Barasch said." (paragraph 8)
"As for whether I should take photos during the eclipse, Dr. Barasch encouraged me to go for it." (paragraph 11)
Part A
Which evidence from Passage 1 develops the central idea that taking photos can improve an experience?
""It's a thing that's taking over our lives,' said Alix Barasch, one of the authors and an assistant professor at the New York University Stern School of Business, 'yet nobody has really studied the psychological effects of taking pictures." (paragraph 4)
"In the recent study, Dr. Barasch and colleagues asked people to walk through a museum exhibit while listening to an audio guide, and either take photos freely or leave their phones and cameras outside." (paragraph 5)
through a museum exhibit while listening to an audio guide, and either take photos freely or leave their phones and cameras outside." (paragraph 5)
"The findings suggest that the process of looking around for what to photograph 'actually causes you to encode visual content and remember it, Dr. Barasch said." (paragraph 8)
"As for whether I should take photos during the eclipse, Dr. Barasch encouraged me to go for it." (paragraph 11)
Part A
The evidence from Passage 1 that develops the central idea that taking photos can improve an experience is:
"The findings suggest that the process of looking around for what to photograph 'actually causes you to encode visual content and remember it,' Dr. Barasch said." (paragraph 8)
This statement indicates that the act of taking photos enhances the ability to remember and appreciate visual experiences, thus supporting the central idea that photography can improve experiences.
If you have Part B ready, please provide it, and I'll be glad to assist!
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
Which evidence from Passage 1 develops the central idea that taking photos can improve an experience?
""It's a thing that's taking over our lives,' said Alix Barasch, one of the authors and an assistant professor at the New York University Stern School of Business, 'yet nobody has really studied the psychological effects of taking pictures." (paragraph 4)
"In the recent study, Dr. Barasch and colleagues asked people to walk through a museum exhibit while listening to an audio guide, and either take photos freely or leave their phones and cameras outside." (paragraph 5)
through a museum exhibit while listening to an audio guide, and either take photos freely or leave their phones and cameras outside." (paragraph 5)
"The findings suggest that the process of looking around for what to photograph 'actually causes you to encode visual content and remember it, Dr. Barasch said." (paragraph 8)
"As for whether I should take photos during the eclipse, Dr. Barasch encouraged me to go for it." (paragraph 11)
up-vote
Part A
Which evidence from Passage 1 develops the central idea that taking photos can improve an experience?
""It's a thing that's taking over our lives,' said Alix Barasch, one of the authors and an assistant professor at the New York University Stern School of Business, 'yet nobody has really studied the psychological effects of taking pictures." (paragraph 4)
"In the recent study, Dr. Barasch and colleagues asked people to walk through a museum exhibit while listening to an audio guide, and either take photos freely or leave their phones and cameras outside." (paragraph 5)
through a museum exhibit while listening to an audio guide, and either take photos freely or leave their phones and cameras outside." (paragraph 5)
"The findings suggest that the process of looking around for what to photograph 'actually causes you to encode visual content and remember it, Dr. Barasch said." (paragraph 8)
"As for whether I should take photos during the eclipse, Dr. Barasch encouraged me to go for it." (paragraph 11)
up-vote
Part A
The evidence from Passage 1 that develops the central idea that taking photos can improve an experience is:
"The findings suggest that the process of looking around for what to photograph 'actually causes you to encode visual content and remember it,' Dr. Barasch said." (paragraph 8)
This statement illustrates how taking photos helps individuals engage more deeply with their visual experiences, enhancing their ability to remember and appreciate those moments.
If you have Part B ready, please provide it, and I'll be happy to assist!
How does the evidence in Part A support the central idea?
It explains how photography can strengthen memory.
It suggests a way to test the effect of photography on memory.
It gives details about how the photography study tested memory.
It presents an opinion about the need to study photography and memory.
It explains how photography can strengthen memory.
It suggests a way to test the effect of photography on memory.
It gives details about how the photography study tested memory.
It presents an opinion about the need to study photography and memory.
The evidence in Part A supports the central idea by:
It explains how photography can strengthen memory.
The statement highlights that the act of looking for things to photograph helps people encode visual content, which enhances their ability to remember those experiences. This directly ties back to the idea that taking photos can improve how individuals experience and recall events.
How does the evidence in Part A support the central idea?
It explains how photography can strengthen memory.
It suggests a way to test the effect of photography on memory.
It gives details about how the photography study tested memory.
It presents an opinion about the need to study photography and memory.
It explains how photography can strengthen memory.
It suggests a way to test the effect of photography on memory.
It gives details about how the photography study tested memory.
It presents an opinion about the need to study photography and memory.
The evidence in Part A supports the central idea by:
It explains how photography can strengthen memory.
The statement indicates that the process of looking for what to photograph helps individuals encode visual information, suggesting that taking photos enhances their ability to remember and appreciate those experiences. This directly reinforces the idea that photography can improve experiential memory.
Select the word from Passage 2 that comes from a root meaning "to estimate the value."
"I think it's just a matter of taking more mindful pictures, taking pictures that you want to remember, or just really reassessing why you're taking photos. I think the functions of photography are changing because of the technology. I don't think we're necessarily taking photos so we can remember our experiences." (paragraph 23)
"I think it's just a matter of taking more mindful pictures, taking pictures that you want to remember, or just really reassessing why you're taking photos. I think the functions of photography are changing because of the technology. I don't think we're necessarily taking photos so we can remember our experiences." (paragraph 23)
The word from Passage 2 that comes from a root meaning "to estimate the value" is "assessing."
The root "assess" relates to evaluating or estimating the value or significance of something. In this context, it refers to the consideration of why people take photos.
so reassessing is the right answer?
Yes, that's correct! The word "reassessing" comes from a root meaning "to estimate the value." In the context of the sentence, it refers to evaluating or reconsidering the reasons for taking photos.
In Passage 2, Cornish refers to Clooney's comments and then interviews Henkel. Select two ways the structure of this passage helps to convey its purpose.
by allowing for multiple perspectives on photography and memory
by allowing for suggestions about how to improve memory function
by allowing for detailed descriptions of the photos in the experiment
by letting Cornish express concerns about the photography research
by letting Cornish ask questions to clarify the effects of taking photos
by allowing for multiple perspectives on photography and memory
by allowing for suggestions about how to improve memory function
by allowing for detailed descriptions of the photos in the experiment
by letting Cornish express concerns about the photography research
by letting Cornish ask questions to clarify the effects of taking photos
The structure of Passage 2 helps to convey its purpose in the following two ways:
by allowing for multiple perspectives on photography and memory.
This structure gives weight to different viewpoints, particularly those of George Clooney regarding personal experiences and Linda Henkel's research on memory, creating a more comprehensive discussion on the topic.
by letting Cornish ask questions to clarify the effects of taking photos.
Cornish's questions help delve deeper into Henkel's research and findings, facilitating a clearer understanding of how taking photos impacts memory. This interaction allows for a more informed exploration of the subject.
In Passage 2, Cornish refers to Clooney's comments and then interviews Henkel. Select two ways the structure of this passage helps to convey its purpose.
A. by allowing for multiple perspectives on photography and memory
B. by allowing for suggestions about how to improve memory function
C. by allowing for detailed descriptions of the photos in the experiment
D. by letting Cornish express concerns about the photography research
E. by letting Cornish ask questions to clarify the effects of taking photos
A. by allowing for multiple perspectives on photography and memory
B. by allowing for suggestions about how to improve memory function
C. by allowing for detailed descriptions of the photos in the experiment
D. by letting Cornish express concerns about the photography research
E. by letting Cornish ask questions to clarify the effects of taking photos
The structure of Passage 2 helps to convey its purpose in the following two ways:
A. by allowing for multiple perspectives on photography and memory
This allows the reader to understand the differing viewpoints between Clooney's personal experience and Henkel's scientific research, enriching the discussion about photography and memory.
E. by letting Cornish ask questions to clarify the effects of taking photos
Cornish's questions facilitate a deeper exploration of Henkel's research, helping to clarify the implications of taking photos on memory, which serves the overall purpose of the passage.
Read this paragraph from Passage 2.
20 CORNISH: Now, you've said that people mistake photographs for memories and that photographs are actually a memory retrieval tool. Explain what that means.
Why does Henkel's response in paragraph 21 support this claim effectively?
She provides multiple examples of how photographs capture specific details.
She lists instances when people remembered more after seeing photographs.
She compares different types of photographs to show how they affect people
20 CORNISH: Now, you've said that people mistake photographs for memories and that photographs are actually a memory retrieval tool. Explain what that means.
Why does Henkel's response in paragraph 21 support this claim effectively?
She provides multiple examples of how photographs capture specific details.
She lists instances when people remembered more after seeing photographs.
She compares different types of photographs to show how they affect people
Henkel's response in paragraph 21 supports the claim effectively because:
She compares different types of photographs to show how they affect people.
By discussing how photographs are static images that may not capture the richness of an experience, she highlights the difference between the dynamic nature of human memory and the more limited representation of reality that photographs provide. This comparison illustrates how photographs can serve as retrieval tools, but may also lead people to overestimate what they remember solely based on those images.
Read this paragraph from Passage 2.
20 CORNISH: Now, you've said that people mistake photographs for memories and that photographs are actually a memory retrieval tool. Explain what that means.
Why does Henkel's response in paragraph 21 support this claim effectively?
She provides multiple examples of how photographs capture specific details.
She lists instances when people remembered more after seeing photographs.
She compares different types of photographs to show how they affect people
She uses personal experiences to demonstrate the limitations of photographs.
20 CORNISH: Now, you've said that people mistake photographs for memories and that photographs are actually a memory retrieval tool. Explain what that means.
Why does Henkel's response in paragraph 21 support this claim effectively?
She provides multiple examples of how photographs capture specific details.
She lists instances when people remembered more after seeing photographs.
She compares different types of photographs to show how they affect people
She uses personal experiences to demonstrate the limitations of photographs.
Henkel's response in paragraph 21 supports the claim effectively because:
She uses personal experiences to demonstrate the limitations of photographs.
In her explanation, she discusses how photographs, while useful as retrieval tools, do not capture the full richness and dynamic nature of human memories. By highlighting that a photograph represents a static moment rather than the entirety of an experience, she underscores the limitations of relying solely on photographs for memory, thereby supporting the claim made in the discussion about photographs and memories.
Read this paragraph from Passage 2.
20 CORNISH: Now, you've said that people mistake photographs for memories and that photographs are actually a memory retrieval tool. Explain what that means.
Why does Henkel's response in paragraph 21 support this claim effectively?
She provides multiple examples of how photographs capture specific details.
She lists instances when people remembered more after seeing photographs.
She compares different types of photographs to show how they affect people
She uses personal experiences to demonstrate the limitations of photographs.
20 CORNISH: Now, you've said that people mistake photographs for memories and that photographs are actually a memory retrieval tool. Explain what that means.
Why does Henkel's response in paragraph 21 support this claim effectively?
She provides multiple examples of how photographs capture specific details.
She lists instances when people remembered more after seeing photographs.
She compares different types of photographs to show how they affect people
She uses personal experiences to demonstrate the limitations of photographs.
Henkel's response in paragraph 21 supports the claim effectively because:
She uses personal experiences to demonstrate the limitations of photographs.
In her explanation, she emphasizes that photographs do not encapsulate the full range of experiences and emotions associated with a memory, effectively illustrating the distinction between memories and the images that represent them. This approach makes a strong case for why people might mistake photographs for memories, as it shows the inherent limitations of photographs in capturing the complexity of human experiences.
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
In Passage 1, how does the study in paragraphs 5-6 develop an argument about the effects of photography?
It suggests that taking photos improves visual memories.
It suggests that reviewing photos adds details to memories.
It suggests that reviewing photos recalls auditory experiences.
It suggests that taking photos makes experiences more enjoyable
Part A
In Passage 1, how does the study in paragraphs 5-6 develop an argument about the effects of photography?
It suggests that taking photos improves visual memories.
It suggests that reviewing photos adds details to memories.
It suggests that reviewing photos recalls auditory experiences.
It suggests that taking photos makes experiences more enjoyable
Part A
In Passage 1, the study in paragraphs 5-6 develops an argument about the effects of photography by:
It suggests that taking photos improves visual memories.
The study indicates that people who took photos were better able to recall the visual aspects of what they experienced, demonstrating that photography can enhance one's ability to remember visual details. This supports the idea that taking photos can have a positive effect on visual memory.
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
In Passage 1, how does the study in paragraphs 5-6 develop an argument about the effects of photography?
It suggests that taking photos improves visual memories.
It suggests that reviewing photos adds details to memories.
It suggests that reviewing photos recalls auditory experiences.
It suggests that taking photos makes experiences more enjoyable
Part A
In Passage 1, how does the study in paragraphs 5-6 develop an argument about the effects of photography?
It suggests that taking photos improves visual memories.
It suggests that reviewing photos adds details to memories.
It suggests that reviewing photos recalls auditory experiences.
It suggests that taking photos makes experiences more enjoyable
Part A
In Passage 1, the study in paragraphs 5-6 develops an argument about the effects of photography by:
It suggests that taking photos improves visual memories.
The study finds that individuals who take photos are better at recalling visual details from their experience, indicating that the act of photographing enhances memory for those visual elements.
How does Passage 2 develop a counterargument to Passage 1?
by describing possible mistakes in the photography research
by questioning whether people intend to look at their photos
by referring to similar photography research with opposite results
by giving a hypothetical example of photos' diminishing experience
by describing possible mistakes in the photography research
by questioning whether people intend to look at their photos
by referring to similar photography research with opposite results
by giving a hypothetical example of photos' diminishing experience
Passage 2 develops a counterargument to Passage 1:
by giving a hypothetical example of photos' diminishing experience.
In Passage 2, Henkel discusses how taking photos can lead people to mistake photographs for memories and how the act of recording moments can detract from the actual experience, illustrating a negative effect of photography that contrasts with the positive effects highlighted in Passage 1. This counterargument emphasizes the limitations of relying on photographs for true memory and experience.
How does Passage 2 develop a counterargument to Passage 1?
by describing possible mistakes in the photography research
by questioning whether people intend to look at their photos
by referring to similar photography research with opposite results
by giving a hypothetical example of photos' diminishing experience
by describing possible mistakes in the photography research
by questioning whether people intend to look at their photos
by referring to similar photography research with opposite results
by giving a hypothetical example of photos' diminishing experience
Passage 2 develops a counterargument to Passage 1:
by describing possible mistakes in the photography research.
In Passage 2, Henkel raises concerns about how photographs might lead to a misrepresentation of experiences and how people may rely too much on images, indicating that while photos can serve as retrieval tools, they can also impair the richness of memory. This serves as a critique of the findings presented in Passage 1.
How does Passage 2 develop a counterargument to Passage 1?
by describing possible mistakes in the photography research
by questioning whether people intend to look at their photos
by referring to similar photography research with opposite results
by giving a hypothetical example of photos' diminishing experience
by describing possible mistakes in the photography research
by questioning whether people intend to look at their photos
by referring to similar photography research with opposite results
by giving a hypothetical example of photos' diminishing experience
Passage 2 develops a counterargument to Passage 1:
by giving a hypothetical example of photos' diminishing experience.
Henkel explains how taking photos can lead to experiences being diminished because people may become more focused on capturing images rather than fully engaging with the moment itself. This contrasts with Passage 1, which emphasizes the positive effects of photography on memory enhancement. By illustrating how taking photos can detract from actual experiences, Passage 2 effectively counters the argument made in Passage 1.
What is the effect of Henkel's repetition of "I think" in paragraph 23 of Passage 2?
It creates a list of important facts to remember.
It offers an example of what a good photograph should be.
It softens criticism of the decisions that other people make.
It implies that she thinks technology has benefited photography
It creates a list of important facts to remember.
It offers an example of what a good photograph should be.
It softens criticism of the decisions that other people make.
It implies that she thinks technology has benefited photography
The effect of Henkel's repetition of "I think" in paragraph 23 of Passage 2 is:
It softens criticism of the decisions that other people make.
By using the phrase "I think," Henkel expresses her personal viewpoint rather than making absolute statements, which can make her criticisms seem less harsh and more subjective. This approach encourages a more open discussion about photography and memory without coming across as overly critical of others' choices regarding how they use technology.
What is the effect of Henkel's repetition of "I think" in paragraph 23 of Passage 2?
It creates a list of important facts to remember.
It offers an example of what a good photograph should be.
It softens criticism of the decisions that other people make.
It implies that she thinks technology has benefited photography
It creates a list of important facts to remember.
It offers an example of what a good photograph should be.
It softens criticism of the decisions that other people make.
It implies that she thinks technology has benefited photography
The effect of Henkel's repetition of "I think" in paragraph 23 of Passage 2 is:
It softens criticism of the decisions that other people make.
By framing her statements with "I think," Henkel presents her opinions as personal reflections rather than definitive judgments. This makes her critique of how people use photography and technology come across as more subjective and less confrontational, allowing for a more nuanced discussion about the effects of photography on memory.
say what technique is used to develop the argument in Passage 1, Passage 2, or both passages.
1. quotations from scientists
2. connection to a specific event
3. giving a personal conclusion on the issue
1. quotations from scientists
2. connection to a specific event
3. giving a personal conclusion on the issue
Here’s how each technique is used to develop the argument in Passage 1, Passage 2, or both passages:
-
Quotations from scientists:
This technique is used in both passages. In Passage 1, Dr. Barasch and other researchers are quoted to support the findings of the studies on photography and memory. In Passage 2, Linda Henkel’s research is referenced to provide a counterargument, and her quotes articulate her views on how photographs affect memories. -
Connection to a specific event:
This technique is primarily used in Passage 1, where the author connects the discussion about photography to the experience of watching the eclipse. This personal connection contextualizes the argument about the effects of photography in a real-world scenario. -
Giving a personal conclusion on the issue:
This technique is used in both passages. In Passage 1, the author discusses their personal deliberation about taking photos during the eclipse, which reflects a conclusion drawn from the presented research. In Passage 2, Henkel expresses her opinions on the use of photography, framing her conclusions around the effects and intentions of taking pictures.
In summary:
- Quotations from scientists are used in both passages.
- Connection to a specific event is used in Passage 1.
- Giving a personal conclusion on the issue is used in both passages.
what technique is used to develop the argument in Passage 1, Passage 2, or both passages.
1. quotations from scientists
2. connection to a specific event
3. giving a personal conclusion on the issue
1. quotations from scientists
2. connection to a specific event
3. giving a personal conclusion on the issue
Here’s how each technique is used to develop the argument:
-
Quotations from scientists:
This technique is used in both passages. In Passage 1, Dr. Barasch is quoted to provide scientific backing for the claims about photography and memory. In Passage 2, Henkel is also quoted to present her research and findings, which serve as a counterargument to Passage 1. -
Connection to a specific event:
This technique is primarily used in Passage 1. The author connects the argument about the effects of photography to the experience of watching the eclipse, creating a personal and relatable context for the discussion. -
Giving a personal conclusion on the issue:
This technique is used in both passages. In Passage 1, the author reflects on their thoughts regarding taking photos during the eclipse, indicating their personal conclusion based on the research. In Passage 2, Henkel also provides her perspective on photography, offering her conclusion on its effects.
In summary:
- Quotations from scientists: used in both passages.
- Connection to a specific event: primarily used in Passage 1.
- Giving a personal conclusion on the issue: used in both passages.
The Man Who Wrote Books in His Head
by Patricia Highsmith
1 E. Taylor Cheever wrote books in his head, never on paper. By the time he died aged sixty- two, he had written fourteen novels and created one hundred and twenty-seven characters, all of whom he, at least, remembered distinctly.
2 It came about like this: Cheever wrote a novel when he was twenty-three called The Eternal Challenge which was rejected by four London publishers. Cheever, then a sub-editor on a Brighton newspaper, showed his manuscript to three or four journalist and critic friends, all of whom said, in quite as brusque a tone it seemed to Cheever as the London publishers' letters, "Characters don't come through... dialogue artificial... theme is unclear... Since you ask me to be frank, may I say I don't think this has a hope of being published even if you work it over Better forget this one and write another..." Cheever had spent all his spare time for two years on the novel, and had come near losing the girl he intended to marry, Louise Welldon, because he gave her so little attention. However he did marry Louise just a few weeks after the deluge of negative reports on his novel. It was a far cry from the note of triumph on which he had intended to claim his bride and embark upon marriage.
3 Cheever had a small private income, and Louise had more. Cheever didn't need a job. Не had imagined quitting his newspaper job (on the strength of having his first novel published), writing more novels and book reviews and maybe a column on books for the Brighton newspaper, climbing up from there to the Times and Guardian. He tried to get in as book critic on the Brighton Beacon, but they wouldn't take him on any permanent basis. Besides, Louise wanted to live in London.
4 They bought a town house in Cheyne Walk and decorated it with furniture and rugs given them by their families. Meanwhile Cheever was thinking about another novel, which he intended to get exactly right before he put a word on paper. So secretive was he, that he did not tell Louise the title or theme or discuss any of the characters with her, though Cheever did get his characters clearly in mind-their backgrounds, motivations, tastes, and appearance down to the color of their eyes. His next book would be definite as to theme, his characters fleshed out, his dialogue spare and telling
5 He sat for hours in his study in the Cheyne Walk house, indeed went up after breakfast and stayed until lunchtime, then went back until tea or dinnertime like any other working writer, but at his desk he made hardly a note except the occasional "1877 + 53" and "1939-83," things like that to determine the age or birth year of certain characters. He liked to hum softly to himself while he pondered. His book, which he called The Spoiler of the Game (no one else in the world knew the title), took him fourteen months to think out and write in his mind. By that time, Everett Junior had been born. Cheever knew so well where he was going with the book that the whole first page was etched in his mind as if he saw it printed. He knew there would be twelve chapters, and he knew what was in them. He committed whole sequences of dialogue to memory, and could recall them at will. Cheever thought he could type the book out in less than a month. He had a new typewriter, a present from Louise on his last birthday
6 "I am ready-finally," Cheever said one morning with an unaccustomed air of cheer.
7 "Oh, splendid, darling!" said Louise. Tactfully she never asked him how his work was going, because she sensed that he didn't like that
8 While Cheever was looking over the Times before going to work, Louise went out in the garden and cut three yellow roses, which she put into a vase and took up to his room. Then she silently withdrew
9 Cheever's study was attractive and comfortable with a generous desk, good lighting, books of reference and dictionaries to hand, a green leather sofa he could take catnaps on if he chose, and a view of the garden. Cheever noticed the roses on the small roller table beside his desk and smiled appreciatively. Page One, Chapter One, Cheever thought. The book was to be dedicated to Louise. To my wife Louise. Simple and clear. It was on a gray morning in December that Leonard
10 He procrastinated He had put a sheet of paper in the typewriter, but this was the title page, and as yet he had written nothing. Suddenly, at 10:15 A.M., he was aware of boredom-oppressive, paralyzing boredom. He knew the book, it was in his mind entirely, and in fact why write it?
11 The thought of hammering away at the keys for the next many weeks, putting words he already knew onto two hundred and ninety-two pages (so Cheever estimated) dismayed him. He fell onto the green sofa and slept until eleven. He awakened refreshed but with a changed outlook: the book was done, after all, not only done but polished. Why not go on to something else?
12 An idea for a novel about an orphan in quest of his parents had been in Cheever's mind for nearly four months. He began to think about a novel around it. He sat all day at his desk, humming, staring at the slips of paper, almost all blank, while he rapped the eraser end of a yellow pencil. He was creating
13 By the time he had thought out and finished the orphan novel, a long one, his son was five years old.
14 "I can write my books later," Cheever said to Louise. "The important thing is to think them out."
15 Louise was disappointed, but hid her feelings. "Your father is a writer," she said to Everett Junior. "A novelist. Novelists don't have to go to work like other people. They can work at home."
16 Little Everett was in a day nursery school, and the children had asked him what his father did. By the time Everett was twelve, he understood the situation and found it highly risible, especially when his mother told him his father had written six books. Invisible books. This was when Louise began to change her attitude to Cheever from one of tolerance and laissez-faire to one of respect and admiration. Mainly, consciously, she did this to set an example for Everett. She was conventional enough to believe that if a son lost respect for his father, the son's character and even the household would fall apart.
How do the opinions of other people about Cheever's novel in paragraph 2 add to his characterization? Select two options.
A. They illustrate an important choice he must make.
B. They suggest he has more to learn about writing fiction.
C. They imply that he overestimates the quality of his books.
D. They reveal how he learned the elements of fiction writing.
E. They demonstrate that his friends support him in his efforts.
by Patricia Highsmith
1 E. Taylor Cheever wrote books in his head, never on paper. By the time he died aged sixty- two, he had written fourteen novels and created one hundred and twenty-seven characters, all of whom he, at least, remembered distinctly.
2 It came about like this: Cheever wrote a novel when he was twenty-three called The Eternal Challenge which was rejected by four London publishers. Cheever, then a sub-editor on a Brighton newspaper, showed his manuscript to three or four journalist and critic friends, all of whom said, in quite as brusque a tone it seemed to Cheever as the London publishers' letters, "Characters don't come through... dialogue artificial... theme is unclear... Since you ask me to be frank, may I say I don't think this has a hope of being published even if you work it over Better forget this one and write another..." Cheever had spent all his spare time for two years on the novel, and had come near losing the girl he intended to marry, Louise Welldon, because he gave her so little attention. However he did marry Louise just a few weeks after the deluge of negative reports on his novel. It was a far cry from the note of triumph on which he had intended to claim his bride and embark upon marriage.
3 Cheever had a small private income, and Louise had more. Cheever didn't need a job. Не had imagined quitting his newspaper job (on the strength of having his first novel published), writing more novels and book reviews and maybe a column on books for the Brighton newspaper, climbing up from there to the Times and Guardian. He tried to get in as book critic on the Brighton Beacon, but they wouldn't take him on any permanent basis. Besides, Louise wanted to live in London.
4 They bought a town house in Cheyne Walk and decorated it with furniture and rugs given them by their families. Meanwhile Cheever was thinking about another novel, which he intended to get exactly right before he put a word on paper. So secretive was he, that he did not tell Louise the title or theme or discuss any of the characters with her, though Cheever did get his characters clearly in mind-their backgrounds, motivations, tastes, and appearance down to the color of their eyes. His next book would be definite as to theme, his characters fleshed out, his dialogue spare and telling
5 He sat for hours in his study in the Cheyne Walk house, indeed went up after breakfast and stayed until lunchtime, then went back until tea or dinnertime like any other working writer, but at his desk he made hardly a note except the occasional "1877 + 53" and "1939-83," things like that to determine the age or birth year of certain characters. He liked to hum softly to himself while he pondered. His book, which he called The Spoiler of the Game (no one else in the world knew the title), took him fourteen months to think out and write in his mind. By that time, Everett Junior had been born. Cheever knew so well where he was going with the book that the whole first page was etched in his mind as if he saw it printed. He knew there would be twelve chapters, and he knew what was in them. He committed whole sequences of dialogue to memory, and could recall them at will. Cheever thought he could type the book out in less than a month. He had a new typewriter, a present from Louise on his last birthday
6 "I am ready-finally," Cheever said one morning with an unaccustomed air of cheer.
7 "Oh, splendid, darling!" said Louise. Tactfully she never asked him how his work was going, because she sensed that he didn't like that
8 While Cheever was looking over the Times before going to work, Louise went out in the garden and cut three yellow roses, which she put into a vase and took up to his room. Then she silently withdrew
9 Cheever's study was attractive and comfortable with a generous desk, good lighting, books of reference and dictionaries to hand, a green leather sofa he could take catnaps on if he chose, and a view of the garden. Cheever noticed the roses on the small roller table beside his desk and smiled appreciatively. Page One, Chapter One, Cheever thought. The book was to be dedicated to Louise. To my wife Louise. Simple and clear. It was on a gray morning in December that Leonard
10 He procrastinated He had put a sheet of paper in the typewriter, but this was the title page, and as yet he had written nothing. Suddenly, at 10:15 A.M., he was aware of boredom-oppressive, paralyzing boredom. He knew the book, it was in his mind entirely, and in fact why write it?
11 The thought of hammering away at the keys for the next many weeks, putting words he already knew onto two hundred and ninety-two pages (so Cheever estimated) dismayed him. He fell onto the green sofa and slept until eleven. He awakened refreshed but with a changed outlook: the book was done, after all, not only done but polished. Why not go on to something else?
12 An idea for a novel about an orphan in quest of his parents had been in Cheever's mind for nearly four months. He began to think about a novel around it. He sat all day at his desk, humming, staring at the slips of paper, almost all blank, while he rapped the eraser end of a yellow pencil. He was creating
13 By the time he had thought out and finished the orphan novel, a long one, his son was five years old.
14 "I can write my books later," Cheever said to Louise. "The important thing is to think them out."
15 Louise was disappointed, but hid her feelings. "Your father is a writer," she said to Everett Junior. "A novelist. Novelists don't have to go to work like other people. They can work at home."
16 Little Everett was in a day nursery school, and the children had asked him what his father did. By the time Everett was twelve, he understood the situation and found it highly risible, especially when his mother told him his father had written six books. Invisible books. This was when Louise began to change her attitude to Cheever from one of tolerance and laissez-faire to one of respect and admiration. Mainly, consciously, she did this to set an example for Everett. She was conventional enough to believe that if a son lost respect for his father, the son's character and even the household would fall apart.
How do the opinions of other people about Cheever's novel in paragraph 2 add to his characterization? Select two options.
A. They illustrate an important choice he must make.
B. They suggest he has more to learn about writing fiction.
C. They imply that he overestimates the quality of his books.
D. They reveal how he learned the elements of fiction writing.
E. They demonstrate that his friends support him in his efforts.
The opinions of other people about Cheever's novel in paragraph 2 add to his characterization in the following two ways:
B. They suggest he has more to learn about writing fiction.
The critiques from his friends highlight the deficiencies in his work, indicating that Cheever still has room for growth and development as a writer.
C. They imply that he overestimates the quality of his books.
The harsh feedback he receives suggests that Cheever may be misjudging the strength of his writing, which could reflect an overconfidence in his abilities prior to receiving criticisms from others.
These options work together to paint a picture of Cheever as a character who is early in his writing journey, facing challenges and needing to grow through feedback.
How do the opinions of other people about Cheever's novel in paragraph 2 add to his characterization? Select two options.
A. They illustrate an important choice he must make.
B. They suggest he has more to learn about writing fiction.
C. They imply that he overestimates the quality of his books.
D. They reveal how he learned the elements of fiction writing.
E. They demonstrate that his friends support him in his efforts.
A. They illustrate an important choice he must make.
B. They suggest he has more to learn about writing fiction.
C. They imply that he overestimates the quality of his books.
D. They reveal how he learned the elements of fiction writing.
E. They demonstrate that his friends support him in his efforts.
The opinions of other people about Cheever's novel in paragraph 2 add to his characterization in the following two ways:
B. They suggest he has more to learn about writing fiction.
The critical feedback he receives points to the weaknesses in his writing, suggesting that he needs to develop his skills further.
C. They imply that he overestimates the quality of his books.
The harsh critiques imply that Cheever may have been too confident in his novel's potential, highlighting a disconnect between his expectations and the reality of his work.
These options together illustrate Cheever's struggle with self-assessment in his writing journey.
How do the details about Everett Junior add to the meaning of the passage?
The need to take care of Everett Junior prompts Louise to ask Cheever to change his daily routine.
The conversations that Everett Junior has with children at school illustrate his desire to be like Cheever.
Everett Junior's birth causes conflict between Cheever and Louise about the example that Cheever is setting.
The missing years of Everett Junior's childhood suggest that Cheever is too absorbed in thinking about the novels.
The need to take care of Everett Junior prompts Louise to ask Cheever to change his daily routine.
The conversations that Everett Junior has with children at school illustrate his desire to be like Cheever.
Everett Junior's birth causes conflict between Cheever and Louise about the example that Cheever is setting.
The missing years of Everett Junior's childhood suggest that Cheever is too absorbed in thinking about the novels.
The details about Everett Junior add to the meaning of the passage in the following way:
The missing years of Everett Junior's childhood suggest that Cheever is too absorbed in thinking about the novels.
This option reflects how Cheever's preoccupation with his writing and the process of formulating his novels leads to a lack of engagement in his son's life. The passage illustrates the impact of Cheever's creative pursuits on his family dynamics and highlights the tension between his aspirations as a writer and his responsibilities as a father. This detail emphasizes the theme of the struggles faced by an artist balancing personal and professional life.
How do the details about Everett Junior add to the meaning of the passage?
The need to take care of Everett Junior prompts Louise to ask Cheever to change his daily routine.
The conversations that Everett Junior has with children at school illustrate his desire to be like Cheever.
Everett Junior's birth causes conflict between Cheever and Louise about the example that Cheever is setting.
The missing years of Everett Junior's childhood suggest that Cheever is too absorbed in thinking about the novels.
The need to take care of Everett Junior prompts Louise to ask Cheever to change his daily routine.
The conversations that Everett Junior has with children at school illustrate his desire to be like Cheever.
Everett Junior's birth causes conflict between Cheever and Louise about the example that Cheever is setting.
The missing years of Everett Junior's childhood suggest that Cheever is too absorbed in thinking about the novels.
The details about Everett Junior add to the meaning of the passage in the following way:
The missing years of Everett Junior's childhood suggest that Cheever is too absorbed in thinking about the novels.
This option illustrates how Cheever's intense focus on his writing and his tendency to create novels in his mind lead to a neglect of his role as a father. The emphasis on the time that passes without meaningful engagement with his son underscores the theme of the sacrifices and conflicts that come with being a devoted writer. It highlights the emotional and relational costs of his artistic pursuits, enriching the overall message of the passage.
What does Louise's behavior toward Cheever reveal about her? Select two options.
A. She looks forward to seeing what he will write next.
B. She feels impressed by his commitment to his work.
C. She avoids confronting him on his lack of productivity.
D. She believes that his writing has improved over the years.
E. She chooses to speak respectfully of him despite her concerns.
A. She looks forward to seeing what he will write next.
B. She feels impressed by his commitment to his work.
C. She avoids confronting him on his lack of productivity.
D. She believes that his writing has improved over the years.
E. She chooses to speak respectfully of him despite her concerns.
Louise's behavior toward Cheever reveals the following two options about her:
C. She avoids confronting him on his lack of productivity.
Louise shows a tendency to not press Cheever about his writing progress, likely because she senses his sensitive nature regarding his work.
E. She chooses to speak respectfully of him despite her concerns.
Even though Louise may have reservations about Cheever's productivity and the impact of his writing on their family, she maintains a respectful attitude, especially in front of their son, which reveals her commitment to supporting him while managing her concerns.
Together, these behaviors illustrate her complexity as a partner who both supports and silently struggles with Cheever's artistic pursuits.
What does Louise's behavior toward Cheever reveal about her? Select two options.
A. She looks forward to seeing what he will write next.
B. She feels impressed by his commitment to his work.
C. She avoids confronting him on his lack of productivity.
D. She believes that his writing has improved over the years.
E. She chooses to speak respectfully of him despite her concerns.
A. She looks forward to seeing what he will write next.
B. She feels impressed by his commitment to his work.
C. She avoids confronting him on his lack of productivity.
D. She believes that his writing has improved over the years.
E. She chooses to speak respectfully of him despite her concerns.
Louise's behavior toward Cheever reveals the following two options about her:
C. She avoids confronting him on his lack of productivity.
Louise tactfully does not press Cheever about how his work is going, indicating that she is aware of his sensitivity regarding his writing process.
E. She chooses to speak respectfully of him despite her concerns.
Louise tries to maintain a positive view of Cheever's identity as a writer, expressing respect for him as a novelist to their son, even while grappling with her own worries about his lack of published work and the implications for their family.
These options highlight her complex feelings of support, concern, and respect for Cheever as both a husband and a writer.
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
What is a universal theme developed by the passage?
People improve by learning from others.
Success does not require a definite plan.
Support from others makes one work harder.
Imagining success is not enough to achieve it.
Part A
What is a universal theme developed by the passage?
People improve by learning from others.
Success does not require a definite plan.
Support from others makes one work harder.
Imagining success is not enough to achieve it.
Part A
A universal theme developed by the passage is:
Imagining success is not enough to achieve it.
The passage illustrates how Cheever mentally develops his novels but struggles with the actual process of writing them down. This theme highlights that simply envisioning success or holding ideas in one's mind does not lead to tangible achievements without taking concrete action. Cheever's procrastination and his eventual realization that he is not writing underscore this idea.
If you have Part B ready, please provide it, and I'll be happy to assist!
This question has two parts. First, answer Part A. Then, answer Part B.
Part A
What is a universal theme developed by the passage?
People improve by learning from others.
Success does not require a definite plan.
Support from others makes one work harder.
Imagining success is not enough to achieve it.
Part A
What is a universal theme developed by the passage?
People improve by learning from others.
Success does not require a definite plan.
Support from others makes one work harder.
Imagining success is not enough to achieve it.
Part A
The universal theme developed by the passage is:
Imagining success is not enough to achieve it.
The passage illustrates Cheever's struggle as he creates novels in his mind but fails to translate those ideas into written words. This theme underscores the idea that merely thinking about success or having ideas is insufficient; tangible actions are necessary to achieve one's goals.
If you have Part B ready, please provide it, and I'll be glad to assist!
Which detail from the passage supports the answer in Part A?
"It came about like this: Cheever wrote a novel when he was twenty- three called The Eternal Challenge which was rejected by four London publishers." (paragraph 2)
"His next book would be definite as to theme, his characters fleshed out, his dialogue spare and telling." (paragraph 4)
"Cheever noticed the roses on the small roller table beside his desk and smiled appreciatively. Page One, Chapter One, Cheever thought." (paragraph 9)
"He awakened refreshed but with a changed outlook: the book was done, after all, not only done but polished. Why not go on to something else?" (paragraph 11)
"It came about like this: Cheever wrote a novel when he was twenty- three called The Eternal Challenge which was rejected by four London publishers." (paragraph 2)
"His next book would be definite as to theme, his characters fleshed out, his dialogue spare and telling." (paragraph 4)
"Cheever noticed the roses on the small roller table beside his desk and smiled appreciatively. Page One, Chapter One, Cheever thought." (paragraph 9)
"He awakened refreshed but with a changed outlook: the book was done, after all, not only done but polished. Why not go on to something else?" (paragraph 11)
The detail from the passage that supports the answer in Part A is:
"He awakened refreshed but with a changed outlook: the book was done, after all, not only done but polished. Why not go on to something else?" (paragraph 11)
This detail illustrates Cheever's realization that, despite having imagined his book in detail, he had not actually written it down. It emphasizes the theme that simply envisioning success or believing a project is complete is not enough; active effort is needed to achieve that success.
Which detail from the passage supports the answer in Part A?
"It came about like this: Cheever wrote a novel when he was twenty- three called The Eternal Challenge which was rejected by four London publishers." (paragraph 2)
"His next book would be definite as to theme, his characters fleshed out, his dialogue spare and telling." (paragraph 4)
"Cheever noticed the roses on the small roller table beside his desk and smiled appreciatively. Page One, Chapter One, Cheever thought." (paragraph 9)
"He awakened refreshed but with a changed outlook: the book was done, after all, not only done but polished. Why not go on to something else?" (paragraph 11)
up-vote
"It came about like this: Cheever wrote a novel when he was twenty- three called The Eternal Challenge which was rejected by four London publishers." (paragraph 2)
"His next book would be definite as to theme, his characters fleshed out, his dialogue spare and telling." (paragraph 4)
"Cheever noticed the roses on the small roller table beside his desk and smiled appreciatively. Page One, Chapter One, Cheever thought." (paragraph 9)
"He awakened refreshed but with a changed outlook: the book was done, after all, not only done but polished. Why not go on to something else?" (paragraph 11)
up-vote
The detail from the passage that supports the answer in Part A is:
"He awakened refreshed but with a changed outlook: the book was done, after all, not only done but polished. Why not go on to something else?" (paragraph 11)
This detail illustrates Cheever's belief that he has completed his book in his mind but has not actually taken the necessary steps to write it down. It underscores the theme that imagining success or feeling satisfied with mental progress is insufficient without the actual act of writing, highlighting the gap between creative thought and tangible achievement.
How does the narrator develop irony when describing Louise's opinions of Cheever in the passage?
by revealing that she often admires silly and unserious people
by suggesting that she is unable to see the failings of her husband
by pointing out how she finally comes to understand what her husband is doing
by observing that her respect is motivated by factors other than her real feelings
by revealing that she often admires silly and unserious people
by suggesting that she is unable to see the failings of her husband
by pointing out how she finally comes to understand what her husband is doing
by observing that her respect is motivated by factors other than her real feelings
The narrator develops irony when describing Louise's opinions of Cheever in the passage:
by suggesting that she is unable to see the failings of her husband.
This irony arises from the contrast between Louise’s public admiration for Cheever as a novelist and her internal struggles with his lack of productivity and the reality of his situation. Despite her outward appearances of support, she is blind to his inability to convert his ideas into written works, which creates a dissonance between her perception and the reality of their lives. This enhances the complexity of her character and highlights the contradictions in her feelings about Cheever.
How does the narrator develop irony when describing Louise's opinions of Cheever in the passage?
by revealing that she often admires silly and unserious people
by suggesting that she is unable to see the failings of her husband
by pointing out how she finally comes to understand what her husband is doing
by observing that her respect is motivated by factors other than her real feelings
by revealing that she often admires silly and unserious people
by suggesting that she is unable to see the failings of her husband
by pointing out how she finally comes to understand what her husband is doing
by observing that her respect is motivated by factors other than her real feelings
The narrator develops irony when describing Louise's opinions of Cheever in the passage:
by suggesting that she is unable to see the failings of her husband.
This irony is evident as Louise admires Cheever and supports his identity as a writer, yet she fails to acknowledge his lack of actual productivity and the emptiness of his claims to be a novelist. Her admiration is not matched by a clear understanding of his shortcomings, which creates a contrast between her perception and the reality of his situation as a writer. This disconnection emphasizes the irony in her respect and the dynamics of their relationship.
How does the narrator's perspective create irony about Cheever?
by showing how moving to a new place affects Cheever's thought process
by illustrating how Cheever's family life interferes with the writing of his novels
by describing the gap between what Cheever believes in his mind and what he actually does
by demonstrating how the ideas Cheever has for his books are too complex to be written clearly
by showing how moving to a new place affects Cheever's thought process
by illustrating how Cheever's family life interferes with the writing of his novels
by describing the gap between what Cheever believes in his mind and what he actually does
by demonstrating how the ideas Cheever has for his books are too complex to be written clearly
The narrator's perspective creates irony about Cheever:
by describing the gap between what Cheever believes in his mind and what he actually does.
This irony arises from Cheever's confidence in his ability to write and the mental clarity he has regarding his novels, contrasted with his inability to actually produce written work. While he has fully formed ideas and characters in his mind, he fails to translate those thoughts into written words, highlighting the disparity between his aspirations and his reality as a writer. This gap emphasizes the irony of his situation and ultimately underscores the theme of creative paralysis.
How does the narrator's perspective create irony about Cheever?
by showing how moving to a new place affects Cheever's thought process
by illustrating how Cheever's family life interferes with the writing of his novels
by describing the gap between what Cheever believes in his mind and what he actually does
by demonstrating how the ideas Cheever has for his books are too complex to be written clearly
by showing how moving to a new place affects Cheever's thought process
by illustrating how Cheever's family life interferes with the writing of his novels
by describing the gap between what Cheever believes in his mind and what he actually does
by demonstrating how the ideas Cheever has for his books are too complex to be written clearly
The narrator's perspective creates irony about Cheever:
by describing the gap between what Cheever believes in his mind and what he actually does.
This irony lies in Cheever's confident belief that he has fully developed his novels and characters in his mind, while in reality, he does not translate those ideas into written form. This contrast highlights his internal struggles and showcases the disconnect between his aspirations as a writer and his actual productivity, emphasizing the theme of creative paralysis.
Read this sentence from the passage.
"However he did marry Louise just a few weeks after the deluge of negative reports on his novel." (paragraph 2)
How does the language in the sentence contribute to the mood of the passage?
It dismisses the opinions of Cheever's friends, creating a defiant mood.
It suggests that Cheever will spend less time writing, creating a hopeful mood.
It shows that Cheever feels overwhelmed by his decision to write and marry, creating a nervous mood.
It emphasizes the failure of Cheever's novel at a time he should be celebrating, creating a disappointed mood
"However he did marry Louise just a few weeks after the deluge of negative reports on his novel." (paragraph 2)
How does the language in the sentence contribute to the mood of the passage?
It dismisses the opinions of Cheever's friends, creating a defiant mood.
It suggests that Cheever will spend less time writing, creating a hopeful mood.
It shows that Cheever feels overwhelmed by his decision to write and marry, creating a nervous mood.
It emphasizes the failure of Cheever's novel at a time he should be celebrating, creating a disappointed mood
The language in the sentence contributes to the mood of the passage by:
It emphasizes the failure of Cheever's novel at a time he should be celebrating, creating a disappointed mood.
The phrase "the deluge of negative reports on his novel" highlights the stark contrast between the expected joy of marrying Louise and the disappointment surrounding his writing failure. This juxtaposition creates a mood that reflects Cheever's struggles and the sense of unfulfilled expectations during what should be a celebratory moment.
Read this sentence from the passage.
"However he did marry Louise just a few weeks after the deluge of negative reports on his novel." (paragraph 2)
How does the language in the sentence contribute to the mood of the passage?
It dismisses the opinions of Cheever's friends, creating a defiant mood.
It suggests that Cheever will spend less time writing, creating a hopeful mood.
It shows that Cheever feels overwhelmed by his decision to write and marry, creating a nervous mood.
It emphasizes the failure of Cheever's novel at a time he should be celebrating, creating a disappointed mood
"However he did marry Louise just a few weeks after the deluge of negative reports on his novel." (paragraph 2)
How does the language in the sentence contribute to the mood of the passage?
It dismisses the opinions of Cheever's friends, creating a defiant mood.
It suggests that Cheever will spend less time writing, creating a hopeful mood.
It shows that Cheever feels overwhelmed by his decision to write and marry, creating a nervous mood.
It emphasizes the failure of Cheever's novel at a time he should be celebrating, creating a disappointed mood
The language in the sentence contributes to the mood of the passage by:
It emphasizes the failure of Cheever's novel at a time he should be celebrating, creating a disappointed mood.
The phrase "the deluge of negative reports on his novel" suggests a significant amount of criticism at a time that should be filled with joy and triumph (his marriage). This contrast underscores a sense of disappointment and highlights the irony of celebrating his marriage while simultaneously facing setbacks in his writing career.
Read this sentence from the passage.
"So secretive was he, that he did not tell Louise the title or theme or discuss any of the characters with her, though Cheever did get his characters clearly in mind-their backgrounds, motivations, tastes, and appearance down to the color of their eyes." (paragraph 4)
How does the imagery in this sentence develop the author's criticism of Cheever?
It reveals that Cheever is planning a novel based on his own life and acquaintances.
It shows why Louise hopes that Cheever's new novel will be better than his last one.
It establishes the contrast between Cheever's detailed daydreaming and its lack of concrete results.
It introduces the idea that Cheever and Louise disagree about the kind of stories that he should write
"So secretive was he, that he did not tell Louise the title or theme or discuss any of the characters with her, though Cheever did get his characters clearly in mind-their backgrounds, motivations, tastes, and appearance down to the color of their eyes." (paragraph 4)
How does the imagery in this sentence develop the author's criticism of Cheever?
It reveals that Cheever is planning a novel based on his own life and acquaintances.
It shows why Louise hopes that Cheever's new novel will be better than his last one.
It establishes the contrast between Cheever's detailed daydreaming and its lack of concrete results.
It introduces the idea that Cheever and Louise disagree about the kind of stories that he should write
The imagery in this sentence develops the author's criticism of Cheever by:
It establishes the contrast between Cheever's detailed daydreaming and its lack of concrete results.
The vivid descriptions of Cheever's characters, including their backgrounds and appearances, highlight his ability to imagine and conceptualize his stories thoroughly. However, the fact that he does not share this with Louise and has yet to translate these ideas into actual writing emphasizes his failure to produce tangible results from his extensive mental planning. This contrast serves to criticize Cheever's procrastination and disconnect between imagination and action.
Read this sentence from the passage.
"So secretive was he, that he did not tell Louise the title or theme or discuss any of the characters with her, though Cheever did get his characters clearly in mind-their backgrounds, motivations, tastes, and appearance down to the color of their eyes." (paragraph 4)
How does the imagery in this sentence develop the author's criticism of Cheever?
It reveals that Cheever is planning a novel based on his own life and acquaintances.
It shows why Louise hopes that Cheever's new novel will be better than his last one.
It establishes the contrast between Cheever's detailed daydreaming and its lack of concrete results.
It introduces the idea that Cheever and Louise disagree about the kind of stories that he should write
"So secretive was he, that he did not tell Louise the title or theme or discuss any of the characters with her, though Cheever did get his characters clearly in mind-their backgrounds, motivations, tastes, and appearance down to the color of their eyes." (paragraph 4)
How does the imagery in this sentence develop the author's criticism of Cheever?
It reveals that Cheever is planning a novel based on his own life and acquaintances.
It shows why Louise hopes that Cheever's new novel will be better than his last one.
It establishes the contrast between Cheever's detailed daydreaming and its lack of concrete results.
It introduces the idea that Cheever and Louise disagree about the kind of stories that he should write
The imagery in this sentence develops the author's criticism of Cheever by:
It establishes the contrast between Cheever's detailed daydreaming and its lack of concrete results.
The sentence emphasizes how Cheever is deeply immersed in his imaginative process, developing rich and detailed characters in his mind. However, his secrecy and failure to communicate any of this with Louise—or to actually write down these ideas—highlight his lack of progress and the disconnect between his mental creativity and tangible outcome. This critique focuses on his procrastination and inability to transform thought into action.
1 answer