Percy Bysshe Shelley’s “Ozymandias”:
1. The diction of the last three lines in the poem conveys a sense of isolation, highlighting Ozymandias's loss of power. The correct answer is A. The phrase "nothing beside remains" suggests that Ozymandias's once grand works have now crumbled and his empire has fallen. The "boundless and bare" sands also emphasize the emptiness and insignificance of Ozymandias's reign.
2. The line "And wrinkled lip, and sneer of cold command" supports the idea that the sculptor thinks poorly of Ozymandias. The correct answer is C. This line describes the sneering and scornful expression on the shattered visage, indicating that its sculptor had a negative opinion of Ozymandias.
3. The words on the pedestal contribute to the tone of the poem by creating a contrast between the statue and its subject. The correct answer is D. The phrase "Look on my works, ye Mighty, and despair!" suggests a tone of arrogance and pride. However, this is ironic because there is nothing left of Ozymandias's works except for the broken statue. The words on the pedestal highlight the contrast between Ozymandias's grandiose claims and the reality of his empire's decay.
4. Shelley makes a point about power by highlighting how old lands change over time. The correct answer is C. The poem explores the transitory nature of power by depicting the crumbling statue of Ozymandias and the vast desert that stretches far away. The passage of time renders even the mightiest empires and their works insignificant.
5. The poem most conveys that power is temporary. The correct answer is C. The depiction of Ozymandias's crumbling statue and the empty desert underscores the transience of power. Despite Ozymandias's claims of being a king of kings, his empire has fallen and "nothing beside remains."
6. The phrase "Of that colossal Wreck" contains irony. The correct answer is E. The phrase "Of that colossal Wreck" suggests a certain magnitude and grandeur, but it is ironic because the "colossal wreck" refers to the broken and decaying statue of Ozymandias. This phrase juxtaposes the grand claims of Ozymandias with the reality of his fallen empire.
Edna St. Vincent Millay’s “Inland”:
1. The line "People the waves have not awakened" reveals that the narrator has a deep connection to the ocean. The correct answer is B. The line suggests that the waves have an awakening effect on the people who live near the sea. This implies that the narrator, who longs for the sea, has a strong emotional and sensory connection to it.
2. The imagery in the last stanza creates a sense of suffocation. The correct answer is C. The image of the narrator beating the narrow walls and finding no window or door and screaming for death by drowning evokes a feeling of claustrophobia and desperation. This contributes to the sense of suffocation.
3. The tone of the poem is wistful. The correct answer is A. The poem speaks of longing for the sea and expresses a deep desire to experience its smell and taste again. This longing creates a wistful tone, expressing a nostalgic and slightly melancholic longing for something lost.
4. The phrase "salt smell of the sea" creates a sense of the sea's unique aroma. The correct answer is B. The phrase "salt smell of the sea" suggests the distinct and specific scent associated with the ocean. This creates a sense of the sea's unique aroma, bringing to mind memories and associations specific to the ocean.
Percy Bysshe Shelley’s “Ozymandias”
I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert…Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed: And on the pedestal these words appear: 'My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!' Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.
Use the poem to answer the question.
Which statement best describes how the diction of the last three lines affects the meaning of the poem?
A. The phrase “nothing beside remains” conveys a sense of isolation, highlighting Ozymandias’s loss of power.
B. The phrase “round the decay” suggests that death is approaching, heightening the sense of the traveler’s fear.
C. The phrase “lone and level sands” paints an image of open terrain, evoking the idea that the traveler is seeking Ozymandias.
D. The phrase “boundless and bare” expresses a sense of limitless potential, underlining Ozymandias’s power during his reign.
E. The phrase “of that colossal wreck” suggests the narrator’s disappointment in Ozymandias, emphasizing the building expectation.
Percy Bysshe Shelley’s “Ozymandias”
I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert…Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed: And on the pedestal these words appear: 'My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!' Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.
Use the poem to answer the question.
Which of the following lines from the poem supports the idea that the sculptor thinks poorly of Ozymandias?
A. “Who said: Two vast and trunkless legs of stone”
B. “Stand in the desert…Near them, on the sand,”
C. “And wrinkled lip, and sneer of cold command”
D. “Which yet survive, stamped on these lifeless things,”
E. “Nothing beside remains. Round the decay”
Percy Bysshe Shelley’s “Ozymandias”
I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert…Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed: And on the pedestal these words appear: 'My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!' Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.
Use the poem to answer the question.
How do the words on the pedestal contribute to the tone of the poem?
A. It mocks the sculptor’s efforts.
B. It makes fun of the king’s pride.
C. It highlights the sculptor’s respect for the king.
D. It creates a contrast between the statue and its subject.
E. It emphasizes that the king is in despair because the statue is alone.
Percy Bysshe Shelley’s “Ozymandias”
I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert…Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed: And on the pedestal these words appear: 'My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!' Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.
Use the poem to answer the question.
Shelley makes a point about power by
A. referencing an ancient ruler.
B. criticizing an ancient dynasty
C. highlighting how old lands change over time
D. making connections between religion and history.
E. describing the relationship between art and history.
Percy Bysshe Shelley’s “Ozymandias”
I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert…Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed: And on the pedestal these words appear: 'My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!' Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.
Use the poem to answer the question.
What does this poem most convey about power?
A. It is desired.
B. It is dangerous.
C. It is temporary.
D. It is unchanging.
E. It is unimportant.
Percy Bysshe Shelley’s “Ozymandias”
I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert…Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed: And on the pedestal these words appear: 'My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!' Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.
Use the poem to answer the question.
Which phrase from the poem contains irony?
A. “Half sunk a shattered visage lies” (line 4)
B. “sneer of cold command” (line 5)
C. “King of Kings” (line 10)
D. “ye Mighty, and despair” (line 11)
E. “Of that colossal Wreck” (line 13)
Percy Bysshe Shelley’s “Ozymandias”
I met a traveller from an antique land Who said: Two vast and trunkless legs of stone Stand in the desert…Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed: And on the pedestal these words appear: 'My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!' Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.
Use the poem to answer the question.
Shelley was not a supporter of the King of England, George III. Which sentence best explains how this idea is expressed in the poem?
A. Shelley uses a fearful tone to highlight threats posed by the king.
B. The phrase “wrinkled lip” suggests Shelley thinks the king is unattractive.
C. Shelley sees himself as the traveler, reflecting his desire to be away from court.
D. The phrase “the hand that mocked them” shows that he felt the king mistreated artists.
E. The phrase “sneer of cold command” reflects Shelley’s idea that a king may harm his subjects.
Edna St. Vincent Millay’s “Inland”
People that build their houses inland, People that buy a plot of ground Shaped like a house, and build a house there, Far from the sea-board, far from the sound Of water sucking the hollow ledges, Tons of water striking the shore,— What do they long for, as I long for One salt smell of the sea once more? People the waves have not awakened, Spanking the boats at the harbor's head, What do they long for, as I long for,— Starting up in my inland bed, Beating the narrow walls, and finding Neither a window nor a door, Screaming to God for death by drowning,— One salt taste of the sea once more?
Use the poem to answer the question. What does the line “People the waves have not awakened” reveal about the narrator?
A. She misses waking up in the ocean.
B. She has a deep connection to the ocean.
C. She appreciates how the ocean looks at night.
D. She thinks that the ocean has magical properties
E. She feels bad for those who do not love the ocean.
Edna St. Vincent Millay’s “Inland”
People that build their houses inland, People that buy a plot of ground Shaped like a house, and build a house there, Far from the sea-board, far from the sound Of water sucking the hollow ledges, Tons of water striking the shore,— What do they long for, as I long for One salt smell of the sea once more? People the waves have not awakened, Spanking the boats at the harbor's head, What do they long for, as I long for,— Starting up in my inland bed, Beating the narrow walls, and finding Neither a window nor a door, Screaming to God for death by drowning,— One salt taste of the sea once more?
Use the poem to answer the question.
What is the effect of the imagery in the last stanza?
A. It evokes a sense of loneliness.
B. It highlights the narrator’s fears.
C. It creates a sense of suffocation.
D. It portrays the ocean as a violent entity.
E. It shows the relationship between land and ocean.
Edna St. Vincent Millay’s “Inland”
People that build their houses inland, People that buy a plot of ground Shaped like a house, and build a house there, Far from the sea-board, far from the sound Of water sucking the hollow ledges, Tons of water striking the shore,— What do they long for, as I long for One salt smell of the sea once more? People the waves have not awakened, Spanking the boats at the harbor's head, What do they long for, as I long for,— Starting up in my inland bed, Beating the narrow walls, and finding Neither a window nor a door, Screaming to God for death by drowning,— One salt taste of the sea once more?
Use the poem to answer the question.
What is the tone of the poem?
A. wistful
B. faithful
C. desperate
D. heartbroken
E. determined
Edna St. Vincent Millay’s “Inland”
People that build their houses inland, People that buy a plot of ground Shaped like a house, and build a house there, Far from the sea-board, far from the sound Of water sucking the hollow ledges, Tons of water striking the shore,— What do they long for, as I long for One salt smell of the sea once more? People the waves have not awakened, Spanking the boats at the harbor's head, What do they long for, as I long for,— Starting up in my inland bed, Beating the narrow walls, and finding Neither a window nor a door, Screaming to God for death by drowning,— One salt taste of the sea once more?
Use the poem to answer the question.
In line 8, the phrase ”salt smell of the sea” creates a sense of
A. endless water in the sea.
B. the sea’s unique aroma.
C. the sea’s danger.
D. the sea’s power.
E. the narrator’s hope for the sea.
2 answers
Chapter 1 of Leo Tolstoy’s Anna Karenina Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonskys’ house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him. This position of affairs had now lasted three days, and not only the husband and wife themselves, but all the members of their family and household, were painfully conscious of it. Every person in the house felt that there was no sense in their living together, and that the stray people brought together by chance in any inn had more in common with one another than they, the members of the family and household of the Oblonskys. The wife did not leave her own room, the husband had not been at home for three days. The children ran wild all over the house; the English governess quarreled with the housekeeper, and wrote to a friend asking her to look out for a new situation for her; the man-cook had walked off the day before just at dinner time; the kitchen-maid, and the coachman had given warning. Three days after the quarrel, Prince Stepan Arkadyevitch Oblonsky—Stiva, as he was called in the fashionable world—woke up at his usual hour, that is, at eight o’clock in the morning, not in his wife’s bedroom, but on the leather-covered sofa in his study. He turned over his stout, well-cared-for person on the springy sofa, as though he would sink into a long sleep again; he vigorously embraced the pillow on the other side and buried his face in it; but all at once he jumped up, sat up on the sofa, and opened his eyes. "Yes, yes, how was it now?" he thought, going over his dream. "Now, how was it? To be sure! Alabin was giving a dinner at Darmstadt; no, not Darmstadt, but something American. Yes, but then, Darmstadt was in America. Yes, Alabin was giving a dinner on glass tables, and the tables sang, Il mio tesoro—not Il mio tesoro though, but something better, and there were some sort of little decanters on the table, and they were women, too," he remembered. 5 Stepan Arkadyevitch’s eyes twinkled gaily, and he pondered with a smile. "Yes, it was nice, very nice. There was a great deal more that was delightful, only there’s no putting it into words, or even expressing it in one’s thoughts awake." And noticing a gleam of light peeping in beside one of the serge curtains, he cheerfully dropped his feet over the edge of the sofa, and felt about with them for his slippers, a present on his last birthday, worked for him by his wife on gold-colored morocco. And, as he had done every day for the last nine years, he stretched out his hand, without getting up, towards the place where his dressing-gown always hung in his bedroom. And thereupon he suddenly remembered that he was not sleeping in his wife’s room, but in his study, and why: the smile vanished from his face, he knitted his brows. "Ah, ah, ah! Oo!..." he muttered, recalling everything that had happened. And again every detail of his quarrel with his wife was present to his imagination, all the hopelessness of his position, and worst of all, his own fault. "Yes, she won’t forgive me, and she can’t forgive me. And the most awful thing about it is that it’s all my fault—all my fault, though I’m not to blame. That’s the point of the whole situation," he reflected. "Oh, oh, oh!" he kept repeating in despair, as he remembered the acutely painful sensations caused him by this quarrel. Most unpleasant of all was the first minute when, on coming, happy and good-humored, from the theater, with a huge pear in his hand for his wife, he had not found his wife in the drawing-room, to his surprise had not found her in the study either, and saw her at last in her bedroom with the unlucky letter that revealed everything in her hand. She, his Dolly, forever fussing and worrying over household details, and limited in her ideas, as he considered, was sitting perfectly still with the letter in her hand, looking at him with an expression of horror, despair, and indignation. 10 "What’s this? this?" she asked, pointing to the letter. And at this recollection, Stepan Arkadyevitch, as is so often the case, was not so much annoyed at the fact itself as at the way in which he had met his wife’s words. There happened to him at that instant what does happen to people when they are unexpectedly caught in something very disgraceful. He did not succeed in adapting his face to the position in which he was placed towards his wife by the discovery of his fault. Instead of being hurt, denying, defending himself, begging forgiveness, instead of remaining indifferent even—anything would have been better than what he did do—his face utterly involuntarily (reflex spinal action, reflected Stepan Arkadyevitch, who was fond of physiology)—utterly involuntarily assumed its habitual, good-humored, and therefore idiotic smile. This idiotic smile he could not forgive himself. Catching sight of that smile, Dolly shuddered as though at physical pain, broke out with her characteristic heat into a flood of cruel words, and rushed out of the room. Since then she had refused to see her husband. "It’s that idiotic smile that’s to blame for it all," thought Stepan Arkadyevitch. 15 "But what’s to be done? What’s to be done?" he said to himself in despair, and found no answer.
7. Use the passage to answer the question.
Assess the passage written by Tolstoy. Write one paragraph describing two strengths or weaknesses of his writing style. Be sure to support your response with details from the text that are relevant to narrative technique, character development, and other elements of fiction.
7. Use the passage to answer the question.
Assess the passage written by Tolstoy. Write one paragraph describing two strengths or weaknesses of his writing style. Be sure to support your response with details from the text that are relevant to narrative technique, character development, and other elements of fiction.
1 answer