ENG

A symbol:

Question 2 options:

What is an antagonist?

Question 3 options:

A third-person omniscient narrator:

Question 4 options:

Which is an example of verbal irony?

Question 5 options:

Please Read the Following Passage from the short story "John Mortonson's Funeral" by Ambrose Bierce and Answer The Question Below

As the hour of two approached the friends began to arrive and after offering such consolation to the stricken relatives as the proprieties of the occasion required, solemnly seated themselves about the room with an augmented consciousness of their importance in the scheme funereal.

Then the minister came, and in that overshadowing presence, the lesser lights went into eclipse. His entrance was followed by that of the widow, whose lamentations filled the room. She approached the casket and after leaning her face against the cold glass for a moment was gently led to a seat near her daughter.

Mournfully and low, the man of God began his eulogy of the dead, and his doleful voice, mingled with the sobbing which it was its purpose to stimulate and sustain, rose and fell, seemed to come and go, like the sound of a sullen sea. The gloomy day grew darker as he spoke; a curtain of cloud underspread the sky and a few drops of rain fell audibly. It seemed as if all nature were weeping for John Mortonson.

What is "sullen sea" an example of?

Question 6 options:

Please Read the Following Passage from the short story "John Mortonson's Funeral" by Ambrose Bierce and Answer The Question Below

As the hour of two approached the friends began to arrive and after offering such consolation to the stricken relatives as the proprieties of the occasion required, solemnly seated themselves about the room with an augmented consciousness of their importance in the scheme funereal.

Then the minister came, and in that overshadowing presence, the lesser lights went into eclipse. His entrance was followed by that of the widow, whose lamentations filled the room. She approached the casket and after leaning her face against the cold glass for a moment was gently led to a seat near her daughter.

Mournfully and low, the man of God began his eulogy of the dead, and his doleful voice, mingled with the sobbing which it was its purpose to stimulate and sustain, rose and fell, seemed to come and go, like the sound of a sullen sea. The gloomy day grew darker as he spoke; a curtain of cloud underspread the sky and a few drops of rain fell audibly. It seemed as if all nature were weeping for John Mortonson.

 When the author writes, "It seemed as if all nature were weeping for John Mortonson," what literary device is he using?

Question 7 options:

Please Read the Following Passage from the short story "John Mortonson's Funeral" by Ambrose Bierce and Answer The Question Below

As the hour of two approached the friends began to arrive and after offering such consolation to the stricken relatives as the proprieties of the occasion required, solemnly seated themselves about the room with an augmented consciousness of their importance in the scheme funereal.

Then the minister came, and in that overshadowing presence, the lesser lights went into eclipse. His entrance was followed by that of the widow, whose lamentations filled the room. She approached the casket and after leaning her face against the cold glass for a moment was gently led to a seat near her daughter.

Mournfully and low, the man of God began his eulogy of the dead, and his doleful voice, mingled with the sobbing which it was its purpose to stimulate and sustain, rose and fell, seemed to come and go, like the sound of a sullen sea. The gloomy day grew darker as he spoke; a curtain of cloud underspread the sky and a few drops of rain fell audibly. It seemed as if all nature were weeping for John Mortonson.

Bierce writes, "in that overshadowing presence, the lesser lights went into eclipse."

What device is used in this part of the passage?

Question 8 options:

Please Read the Following Passage from the short story "John Mortonson's Funeral" by Ambrose Bierce and Answer The Question Below

As the hour of two approached the friends began to arrive and after offering such consolation to the stricken relatives as the proprieties of the occasion required, solemnly seated themselves about the room with an augmented consciousness of their importance in the scheme funereal.

Then the minister came, and in that overshadowing presence, the lesser lights went into eclipse. His entrance was followed by that of the widow, whose lamentations filled the room. She approached the casket and after leaning her face against the cold glass for a moment was gently led to a seat near her daughter.

Mournfully and low, the man of God began his eulogy of the dead, and his doleful voice, mingled with the sobbing which it was its purpose to stimulate and sustain, rose and fell, seemed to come and go, like the sound of a sullen sea. The gloomy day grew darker as he spoke; a curtain of cloud underspread the sky and a few drops of rain fell audibly. It seemed as if all nature were weeping for John Mortonson.

Which is an example of aural (auditory) imagery in the passage?

Question 9 options:

Please Read the Following Passage from the short story "John Mortonson's Funeral" by Ambrose Bierce and Answer The Question Below

As the hour of two approached the friends began to arrive and after offering such consolation to the stricken relatives as the proprieties of the occasion required, solemnly seated themselves about the room with an augmented consciousness of their importance in the scheme funereal.

Then the minister came, and in that overshadowing presence, the lesser lights went into eclipse. His entrance was followed by that of the widow, whose lamentations filled the room. She approached the casket and after leaning her face against the cold glass for a moment was gently led to a seat near her daughter.

Mournfully and low, the man of God began his eulogy of the dead, and his doleful voice, mingled with the sobbing which it was its purpose to stimulate and sustain, rose and fell, seemed to come and go, like the sound of a sullen sea. The gloomy day grew darker as he spoke; a curtain of cloud underspread the sky and a few drops of rain fell audibly. It seemed as if all nature were weeping for John Mortonson.

Which best describes the mood of the passage? 

Question 10 options:

Question 11 (Mandatory) (1 point)

The Dramatis Personae is:

Question 11 options:

When a character speaks a soliloquy, the reader may confidently assume that: 

Question 12 options:

If a play is classified as a tragedy, the reader can confidently expect:

Question 13 options:

A comedy  cannot include: 

Question 14 options:

A full-length play is typically divided by:

Question 15 options:

Please read the following excerpt from the One-Act Play "A Matter of Husbands" by Ferenc Molar and answer questions 16-20

[The scene is a drawing room, but a screen, a sofa and a chair will do, provided that the design and colorings are exotic and suggestive of the apartment of the famous Hungarian actress in which this dialogue takes place. The time is late afternoon, and when the curtain rises the Earnest Young Woman is discovered, poised nervously on the edge of a gilt chair. It is plain she has been sitting there a long time. For perhaps the fiftieth time she is studying the furnishings of the room and regarding the curtained door with a glance that would be impatient if it were not so palpably frightened. And now and then she licks her lips as if her mouth was dry. She is dressed in a very modest frock and wears her hat and furs. At last the Famous Actress enters through the curtained door at the right which leads to her bedroom.]

FAMOUS ACTRESS: You wished to see me?

EARNEST YOUNG WOMAN:  [She gulps emotionally] Yes.

FAMOUS ACTRESS: What can I do for you?

EARNEST YOUNG WOMAN:  [Extends her arms in a beseeching gesture] Give me back my husband!

FAMOUS ACTRESS: Give you back your husband!

EARNEST YOUNG WOMAN: Yes. [The FAMOUS ACTRESS only stares at her in speechless bewilderment.] You are wondering which one he is.... He is a blond man, not very tall, wears spectacles. He is a lawyer, your manager's lawyer. Alfred is his first name.

FAMOUS ACTRESS: Oh! I have met him--yes.

EARNEST YOUNG WOMAN: I know you have. I implore you, give him back to me.

[There is a long pause.]

FAMOUS ACTRESS: You mustn't mistake my silence for embarrassment. I am at a loss because--I don't quite see how I can give you back your husband when I haven't got him to give.

EARNEST YOUNG WOMAN: You just admitted that you knew him.

FAMOUS ACTRESS: That scarcely implies that I have taken him from you. Of course I know him. He drew up my last contract. And it seems to me I have seen him once or twice since then--backstage. A rather nice-spoken, fair-haired man. Did you say he wore spectacles?

EARNEST YOUNG WOMAN: Yes.

FAMOUS ACTRESS: I don't remember him with spectacles.

EARNEST YOUNG WOMAN: He probably took them off. He wanted to look his best to you. He is in love with you. He never takes them off when I'm around. He doesn't care how he looks when I'm around. He doesn't love me. I implore you, give him back to me!

FAMOUS ACTRESS: If you weren't such a very foolish young woman I should be very angry with you. Wherever did you get the idea that I have taken your husband from you?

EARNEST YOUNG WOMAN: He sends you flowers all the time.

FAMOUS ACTRESS: That's not true.

[…]

EARNEST YOUNG WOMAN:  [Contritely] I have been a perfect fool.

FAMOUS ACTRESS: Well, you do look a bit silly, standing there with tears in your eyes, and your face flushed with happiness because you have discovered that a little blond man with spectacles loves you, after all. My dear, no man deserves to be adored as much as that. But then it's your own affair, isn't it?

EARNEST YOUNG WOMAN: Yes.

FAMOUS ACTRESS: Yet I want to give you a parting bit of advice: don't let him fool you like this again.

EARNEST YOUNG WOMAN: He won't. Never fear!

FAMOUS ACTRESS: No matter what you may find in his pockets--letters, handkerchiefs, my photograph, no matter what flowers he sends, or letters he writes, or appointments he makes--don't be taken in a second time.

EARNEST YOUNG WOMAN: You may be sure of that. And you won't say anything to him about my coming here, will you?

FAMOUS ACTRESS: Not a word. I'm angry with him for not having come to me frankly for permission to use my name the way he did.

EARNEST YOUNG WOMAN: You are a dear, and I don't know how to thank you.

FAMOUS ACTRESS: Now you mustn't begin crying all over again.

EARNEST YOUNG WOMAN: You have made me so happy!

[She kisses the FAMOUS ACTRESS impetuously, wetting her cheek with tears; then she rushes out. The door closes behind her. There is a pause.]

FAMOUS ACTRESS:  [Goes to the door of her bedroom and calls] All right, Alfred. You can come in now. She's gone.

THE CURTAIN FALLS

The line [ There is a long pause.] is an example of what?

Question 16 options:

Please read the following excerpt from the One-Act Play "A Matter of Husbands" by Ferenc Molar and answer questions 16-20

[The scene is a drawing room, but a screen, a sofa and a chair will do, provided that the design and colorings are exotic and suggestive of the apartment of the famous Hungarian actress in which this dialogue takes place. The time is late afternoon, and when the curtain rises the Earnest Young Woman is discovered, poised nervously on the edge of a gilt chair. It is plain she has been sitting there a long time. For perhaps the fiftieth time she is studying the furnishings of the room and regarding the curtained door with a glance that would be impatient if it were not so palpably frightened. And now and then she licks her lips as if her mouth was dry. She is dressed in a very modest frock and wears her hat and furs. At last the Famous Actress enters through the curtained door at the right which leads to her bedroom.]

FAMOUS ACTRESS: You wished to see me?

EARNEST YOUNG WOMAN:  [She gulps emotionally] Yes.

FAMOUS ACTRESS: What can I do for you?

EARNEST YOUNG WOMAN:  [Extends her arms in a beseeching gesture] Give me back my husband!

FAMOUS ACTRESS: Give you back your husband!

EARNEST YOUNG WOMAN: Yes. [The FAMOUS ACTRESS only stares at her in speechless bewilderment.] You are wondering which one he is.... He is a blond man, not very tall, wears spectacles. He is a lawyer, your manager's lawyer. Alfred is his first name.

FAMOUS ACTRESS: Oh! I have met him--yes.

EARNEST YOUNG WOMAN: I know you have. I implore you, give him back to me.

[There is a long pause.]

FAMOUS ACTRESS: You mustn't mistake my silence for embarrassment. I am at a loss because--I don't quite see how I can give you back your husband when I haven't got him to give.

EARNEST YOUNG WOMAN: You just admitted that you knew him.

FAMOUS ACTRESS: That scarcely implies that I have taken him from you. Of course I know him. He drew up my last contract. And it seems to me I have seen him once or twice since then--backstage. A rather nice-spoken, fair-haired man. Did you say he wore spectacles?

EARNEST YOUNG WOMAN: Yes.

FAMOUS ACTRESS: I don't remember him with spectacles.

EARNEST YOUNG WOMAN: He probably took them off. He wanted to look his best to you. He is in love with you. He never takes them off when I'm around. He doesn't care how he looks when I'm around. He doesn't love me. I implore you, give him back to me!

FAMOUS ACTRESS: If you weren't such a very foolish young woman I should be very angry with you. Wherever did you get the idea that I have taken your husband from you?

EARNEST YOUNG WOMAN: He sends you flowers all the time.

FAMOUS ACTRESS: That's not true.

[…]

EARNEST YOUNG WOMAN:  [Contritely] I have been a perfect fool.

FAMOUS ACTRESS: Well, you do look a bit silly, standing there with tears in your eyes, and your face flushed with happiness because you have discovered that a little blond man with spectacles loves you, after all. My dear, no man deserves to be adored as much as that. But then it's your own affair, isn't it?

EARNEST YOUNG WOMAN: Yes.

FAMOUS ACTRESS: Yet I want to give you a parting bit of advice: don't let him fool you like this again.

EARNEST YOUNG WOMAN: He won't. Never fear!

FAMOUS ACTRESS: No matter what you may find in his pockets--letters, handkerchiefs, my photograph, no matter what flowers he sends, or letters he writes, or appointments he makes--don't be taken in a second time.

EARNEST YOUNG WOMAN: You may be sure of that. And you won't say anything to him about my coming here, will you?

FAMOUS ACTRESS: Not a word. I'm angry with him for not having come to me frankly for permission to use my name the way he did.

EARNEST YOUNG WOMAN: You are a dear, and I don't know how to thank you.

FAMOUS ACTRESS: Now you mustn't begin crying all over again.

EARNEST YOUNG WOMAN: You have made me so happy!

[She kisses the FAMOUS ACTRESS impetuously, wetting her cheek with tears; then she rushes out. The door closes behind her. There is a pause.]

FAMOUS ACTRESS:  [Goes to the door of her bedroom and calls] All right, Alfred. You can come in now. She's gone.

THE CURTAIN FALLS

What category best describes this short play?

Question 17 options:

Please read the following excerpt from the One-Act Play "A Matter of Husbands" by Ferenc Molar and answer questions 16-20

[The scene is a drawing room, but a screen, a sofa and a chair will do, provided that the design and colorings are exotic and suggestive of the apartment of the famous Hungarian actress in which this dialogue takes place. The time is late afternoon, and when the curtain rises the Earnest Young Woman is discovered, poised nervously on the edge of a gilt chair. It is plain she has been sitting there a long time. For perhaps the fiftieth time she is studying the furnishings of the room and regarding the curtained door with a glance that would be impatient if it were not so palpably frightened. And now and then she licks her lips as if her mouth was dry. She is dressed in a very modest frock and wears her hat and furs. At last the Famous Actress enters through the curtained door at the right which leads to her bedroom.]

FAMOUS ACTRESS: You wished to see me?

EARNEST YOUNG WOMAN:  [She gulps emotionally] Yes.

FAMOUS ACTRESS: What can I do for you?

EARNEST YOUNG WOMAN:  [Extends her arms in a beseeching gesture] Give me back my husband!

FAMOUS ACTRESS: Give you back your husband!

EARNEST YOUNG WOMAN: Yes. [The FAMOUS ACTRESS only stares at her in speechless bewilderment.] You are wondering which one he is.... He is a blond man, not very tall, wears spectacles. He is a lawyer, your manager's lawyer. Alfred is his first name.

FAMOUS ACTRESS: Oh! I have met him--yes.

EARNEST YOUNG WOMAN: I know you have. I implore you, give him back to me.

[There is a long pause.]

FAMOUS ACTRESS: You mustn't mistake my silence for embarrassment. I am at a loss because--I don't quite see how I can give you back your husband when I haven't got him to give.

EARNEST YOUNG WOMAN: You just admitted that you knew him.

FAMOUS ACTRESS: That scarcely implies that I have taken him from you. Of course I know him. He drew up my last contract. And it seems to me I have seen him once or twice since then--backstage. A rather nice-spoken, fair-haired man. Did you say he wore spectacles?

EARNEST YOUNG WOMAN: Yes.

FAMOUS ACTRESS: I don't remember him with spectacles.

EARNEST YOUNG WOMAN: He probably took them off. He wanted to look his best to you. He is in love with you. He never takes them off when I'm around. He doesn't care how he looks when I'm around. He doesn't love me. I implore you, give him back to me!

FAMOUS ACTRESS: If you weren't such a very foolish young woman I should be very angry with you. Wherever did you get the idea that I have taken your husband from you?

EARNEST YOUNG WOMAN: He sends you flowers all the time.

FAMOUS ACTRESS: That's not true.

[…]

EARNEST YOUNG WOMAN:  [Contritely] I have been a perfect fool.

FAMOUS ACTRESS: Well, you do look a bit silly, standing there with tears in your eyes, and your face flushed with happiness because you have discovered that a little blond man with spectacles loves you, after all. My dear, no man deserves to be adored as much as that. But then it's your own affair, isn't it?

EARNEST YOUNG WOMAN: Yes.

FAMOUS ACTRESS: Yet I want to give you a parting bit of advice: don't let him fool you like this again.

EARNEST YOUNG WOMAN: He won't. Never fear!

FAMOUS ACTRESS: No matter what you may find in his pockets--letters, handkerchiefs, my photograph, no matter what flowers he sends, or letters he writes, or appointments he makes--don't be taken in a second time.

EARNEST YOUNG WOMAN: You may be sure of that. And you won't say anything to him about my coming here, will you?

FAMOUS ACTRESS: Not a word. I'm angry with him for not having come to me frankly for permission to use my name the way he did.

EARNEST YOUNG WOMAN: You are a dear, and I don't know how to thank you.

FAMOUS ACTRESS: Now you mustn't begin crying all over again.

EARNEST YOUNG WOMAN: You have made me so happy!

[She kisses the FAMOUS ACTRESS impetuously, wetting her cheek with tears; then she rushes out. The door closes behind her. There is a pause.]

FAMOUS ACTRESS:  [Goes to the door of her bedroom and calls] All right, Alfred. You can come in now. She's gone.

THE CURTAIN FALLS

At the beginning of the play, we are told, "The scene is a drawing room, but a screen, a sofa and a chair will do, provided that the design and colorings are exotic."

How would you  best categorize the chair the Earnest Young Woman uses?

Question 18 options:

Please read the following excerpt from the One-Act Play "A Matter of Husbands" by Ferenc Molar and answer questions 16-20

[The scene is a drawing room, but a screen, a sofa and a chair will do, provided that the design and colorings are exotic and suggestive of the apartment of the famous Hungarian actress in which this dialogue takes place. The time is late afternoon, and when the curtain rises the Earnest Young Woman is discovered, poised nervously on the edge of a gilt chair. It is plain she has been sitting there a long time. For perhaps the fiftieth time she is studying the furnishings of the room and regarding the curtained door with a glance that would be impatient if it were not so palpably frightened. And now and then she licks her lips as if her mouth was dry. She is dressed in a very modest frock and wears her hat and furs. At last the Famous Actress enters through the curtained door at the right which leads to her bedroom.]

FAMOUS ACTRESS: You wished to see me?

EARNEST YOUNG WOMAN:  [She gulps emotionally] Yes.

FAMOUS ACTRESS: What can I do for you?

EARNEST YOUNG WOMAN:  [Extends her arms in a beseeching gesture] Give me back my husband!

FAMOUS ACTRESS: Give you back your husband!

EARNEST YOUNG WOMAN: Yes. [The FAMOUS ACTRESS only stares at her in speechless bewilderment.] You are wondering which one he is.... He is a blond man, not very tall, wears spectacles. He is a lawyer, your manager's lawyer. Alfred is his first name.

FAMOUS ACTRESS: Oh! I have met him--yes.

EARNEST YOUNG WOMAN: I know you have. I implore you, give him back to me.

[There is a long pause.]

FAMOUS ACTRESS: You mustn't mistake my silence for embarrassment. I am at a loss because--I don't quite see how I can give you back your husband when I haven't got him to give.

EARNEST YOUNG WOMAN: You just admitted that you knew him.

FAMOUS ACTRESS: That scarcely implies that I have taken him from you. Of course I know him. He drew up my last contract. And it seems to me I have seen him once or twice since then--backstage. A rather nice-spoken, fair-haired man. Did you say he wore spectacles?

EARNEST YOUNG WOMAN: Yes.

FAMOUS ACTRESS: I don't remember him with spectacles.

EARNEST YOUNG WOMAN: He probably took them off. He wanted to look his best to you. He is in love with you. He never takes them off when I'm around. He doesn't care how he looks when I'm around. He doesn't love me. I implore you, give him back to me!

FAMOUS ACTRESS: If you weren't such a very foolish young woman I should be very angry with you. Wherever did you get the idea that I have taken your husband from you?

EARNEST YOUNG WOMAN: He sends you flowers all the time.

FAMOUS ACTRESS: That's not true.

[…]

EARNEST YOUNG WOMAN:  [Contritely] I have been a perfect fool.

FAMOUS ACTRESS: Well, you do look a bit silly, standing there with tears in your eyes, and your face flushed with happiness because you have discovered that a little blond man with spectacles loves you, after all. My dear, no man deserves to be adored as much as that. But then it's your own affair, isn't it?

EARNEST YOUNG WOMAN: Yes.

FAMOUS ACTRESS: Yet I want to give you a parting bit of advice: don't let him fool you like this again.

EARNEST YOUNG WOMAN: He won't. Never fear!

FAMOUS ACTRESS: No matter what you may find in his pockets--letters, handkerchiefs, my photograph, no matter what flowers he sends, or letters he writes, or appointments he makes--don't be taken in a second time.

EARNEST YOUNG WOMAN: You may be sure of that. And you won't say anything to him about my coming here, will you?

FAMOUS ACTRESS: Not a word. I'm angry with him for not having come to me frankly for permission to use my name the way he did.

EARNEST YOUNG WOMAN: You are a dear, and I don't know how to thank you.

FAMOUS ACTRESS: Now you mustn't begin crying all over again.

EARNEST YOUNG WOMAN: You have made me so happy!

[She kisses the FAMOUS ACTRESS impetuously, wetting her cheek with tears; then she rushes out. The door closes behind her. There is a pause.]

FAMOUS ACTRESS:  [Goes to the door of her bedroom and calls] All right, Alfred. You can come in now. She's gone.

THE CURTAIN FALLS

Which  best describes the Earnest Young Woman's characterization?

Question 19 options:

Please read the following excerpt from the One-Act Play "A Matter of Husbands" by Ferenc Molar and answer questions 16-20

[The scene is a drawing room, but a screen, a sofa and a chair will do, provided that the design and colorings are exotic and suggestive of the apartment of the famous Hungarian actress in which this dialogue takes place. The time is late afternoon, and when the curtain rises the Earnest Young Woman is discovered, poised nervously on the edge of a gilt chair. It is plain she has been sitting there a long time. For perhaps the fiftieth time she is studying the furnishings of the room and regarding the curtained door with a glance that would be impatient if it were not so palpably frightened. And now and then she licks her lips as if her mouth was dry. She is dressed in a very modest frock and wears her hat and furs. At last the Famous Actress enters through the curtained door at the right which leads to her bedroom.]

FAMOUS ACTRESS: You wished to see me?

EARNEST YOUNG WOMAN:  [She gulps emotionally] Yes.

FAMOUS ACTRESS: What can I do for you?

EARNEST YOUNG WOMAN:  [Extends her arms in a beseeching gesture] Give me back my husband!

FAMOUS ACTRESS: Give you back your husband!

EARNEST YOUNG WOMAN: Yes. [The FAMOUS ACTRESS only stares at her in speechless bewilderment.] You are wondering which one he is.... He is a blond man, not very tall, wears spectacles. He is a lawyer, your manager's lawyer. Alfred is his first name.

FAMOUS ACTRESS: Oh! I have met him--yes.

EARNEST YOUNG WOMAN: I know you have. I implore you, give him back to me.

[There is a long pause.]

FAMOUS ACTRESS: You mustn't mistake my silence for embarrassment. I am at a loss because--I don't quite see how I can give you back your husband when I haven't got him to give.

EARNEST YOUNG WOMAN: You just admitted that you knew him.

FAMOUS ACTRESS: That scarcely implies that I have taken him from you. Of course I know him. He drew up my last contract. And it seems to me I have seen him once or twice since then--backstage. A rather nice-spoken, fair-haired man. Did you say he wore spectacles?

EARNEST YOUNG WOMAN: Yes.

FAMOUS ACTRESS: I don't remember him with spectacles.

EARNEST YOUNG WOMAN: He probably took them off. He wanted to look his best to you. He is in love with you. He never takes them off when I'm around. He doesn't care how he looks when I'm around. He doesn't love me. I implore you, give him back to me!

FAMOUS ACTRESS: If you weren't such a very foolish young woman I should be very angry with you. Wherever did you get the idea that I have taken your husband from you?

EARNEST YOUNG WOMAN: He sends you flowers all the time.

FAMOUS ACTRESS: That's not true.

[…]

EARNEST YOUNG WOMAN:  [Contritely] I have been a perfect fool.

FAMOUS ACTRESS: Well, you do look a bit silly, standing there with tears in your eyes, and your face flushed with happiness because you have discovered that a little blond man with spectacles loves you, after all. My dear, no man deserves to be adored as much as that. But then it's your own affair, isn't it?

EARNEST YOUNG WOMAN: Yes.

FAMOUS ACTRESS: Yet I want to give you a parting bit of advice: don't let him fool you like this again.

EARNEST YOUNG WOMAN: He won't. Never fear!

FAMOUS ACTRESS: No matter what you may find in his pockets--letters, handkerchiefs, my photograph, no matter what flowers he sends, or letters he writes, or appointments he makes--don't be taken in a second time.

EARNEST YOUNG WOMAN: You may be sure of that. And you won't say anything to him about my coming here, will you?

FAMOUS ACTRESS: Not a word. I'm angry with him for not having come to me frankly for permission to use my name the way he did.

EARNEST YOUNG WOMAN: You are a dear, and I don't know how to thank you.

FAMOUS ACTRESS: Now you mustn't begin crying all over again.

EARNEST YOUNG WOMAN: You have made me so happy!

[She kisses the FAMOUS ACTRESS impetuously, wetting her cheek with tears; then she rushes out. The door closes behind her. There is a pause.]

FAMOUS ACTRESS:  [Goes to the door of her bedroom and calls] All right, Alfred. You can come in now. She's gone.

THE CURTAIN FALLS

At the end of the play, the audience realizes that Alfred has been hiding in the actress's bedroom, but his wife remains unaware of this fact.

What is this an example of?

Question 20 options:

Question 21 (Mandatory) (1 point)

The first-person speaker of a lyric poem is best described as: 

Question 21 options:

The line: "The sun was as yellow as an egg yolk" uses what literary device?

Question 22 options:

What is meter?

Question 23 options:

A poem is typically divided into:

Question 24 options:

A poem which is 14 lines long, consisting of 3 quatrains and a final couplet, is an example of what?

Question 25 options:

Please Read the Following Passage from the poem "After Apple Picking" by Robert Frost and answer questions below

My long two-pointed ladder's sticking through a tree

Toward heaven still,

And there's a barrel that I didn't fill

Beside it, and there may be two or three

Apples I didn't pick upon some bough.                                    (5)

But I am done with apple-picking now.

Essence of winter sleep is on the night,

The scent of apples: I am drowsing off.

I cannot rub the strangeness from my sight

I got from looking through a pane of glass                             (10)

I skimmed this morning from the drinking trough

And held against the world of hoary grass.

It melted, and I let it fall and break.

But I was well

Upon my way to sleep before it fell,                                         (15)

And I could tell

What form my dreaming was about to take.

Magnified apples appear and disappear,

Stem end and blossom end,

And every fleck of russet showing clear.                                 (20)

Looking at the poem, which is an example of enjambment?

Question 26 options:

Please Read the Following Passage from the poem "After Apple Picking" by Robert Frost and answer questions below

My long two-pointed ladder's sticking through a tree

Toward heaven still,

And there's a barrel that I didn't fill

Beside it, and there may be two or three

Apples I didn't pick upon some bough.                                    (5)

But I am done with apple-picking now.

Essence of winter sleep is on the night,

The scent of apples: I am drowsing off.

I cannot rub the strangeness from my sight

I got from looking through a pane of glass                             (10)

I skimmed this morning from the drinking trough

And held against the world of hoary grass.

It melted, and I let it fall and break.

But I was well

Upon my way to sleep before it fell,                                         (15)

And I could tell

What form my dreaming was about to take.

Magnified apples appear and disappear,

Stem end and blossom end,

And every fleck of russet showing clear.                                 (20)

What is the rhyme scheme for the first four lines of the poem?

Question 27 options:

Please Read the Following Passage from the poem "After Apple Picking" by Robert Frost and answer questions below

My long two-pointed ladder's sticking through a tree

Toward heaven still,

And there's a barrel that I didn't fill

Beside it, and there may be two or three

Apples I didn't pick upon some bough.                                    (5)

But I am done with apple-picking now.

Essence of winter sleep is on the night,

The scent of apples: I am drowsing off.

I cannot rub the strangeness from my sight

I got from looking through a pane of glass                             (10)

I skimmed this morning from the drinking trough

And held against the world of hoary grass.

It melted, and I let it fall and break.

But I was well

Upon my way to sleep before it fell,                                         (15)

And I could tell

What form my dreaming was about to take.

Magnified apples appear and disappear,

Stem end and blossom end,

And every fleck of russet showing clear.                                 (20)

In lines 14-15, Frost rhymes "well" with "fell."

What is this an example of?

Question 28 options:

Please Read the Following Passage from the poem "After Apple Picking" by Robert Frost and answer questions below

My long two-pointed ladder's sticking through a tree

Toward heaven still,

And there's a barrel that I didn't fill

Beside it, and there may be two or three

Apples I didn't pick upon some bough.                                    (5)

But I am done with apple-picking now.

Essence of winter sleep is on the night,

The scent of apples: I am drowsing off.

I cannot rub the strangeness from my sight

I got from looking through a pane of glass                             (10)

I skimmed this morning from the drinking trough

And held against the world of hoary grass.

It melted, and I let it fall and break.

But I was well

Upon my way to sleep before it fell,                                         (15)

And I could tell

What form my dreaming was about to take.

Magnified apples appear and disappear,

Stem end and blossom end,

And every fleck of russet showing clear.                                 (20)

Which best describes the setting of the poem?

Question 29 options:

Please Read the Following Passage from the poem "After Apple Picking" by Robert Frost and answer questions below

My long two-pointed ladder's sticking through a tree

Toward heaven still,

And there's a barrel that I didn't fill

Beside it, and there may be two or three

Apples I didn't pick upon some bough.                                    (5)

But I am done with apple-picking now.

Essence of winter sleep is on the night,

The scent of apples: I am drowsing off.

I cannot rub the strangeness from my sight

I got from looking through a pane of glass                             (10)

I skimmed this morning from the drinking trough

And held against the world of hoary grass.

It melted, and I let it fall and break.

But I was well

Upon my way to sleep before it fell,                                         (15)

And I could tell

What form my dreaming was about to take.

Magnified apples appear and disappear,

Stem end and blossom end,

And every fleck of russet showing clear.                                 (20)

What is the dominant form of imagery in this poem?

Question 30 options: