Exaggerating one’s personal features for comic effect is
- A. caricature
- B. lampoon
- C. contrast
- D. satire
WILLIAM SHAKESPEARE: A Midsummer Night’s Dream
Use the following extract to answer the question that follows:
Lie bath rid his prologue like a rough colt: he knows not the stop.
A good moral, my lord: it is not enough to speak, but to speak true.
The character that delivers the prologue is
- A. Snug
- B. Starveling
- C. Snout
- D. Quince
WILLIAM SHAKESPEARE: A Midsummer Night’s Dream
Use the following extract to answer the question that follows:
Lie bath rid his prologue like a rough colt: he knows not the stop.
A good moral, my lord: it is not enough to speak, but to speak true.
The character that speaks after the speaker is
- A. Lysander
- B. Demetrius
- C. Titania
- D. Hippolyta
WILLIAM SHAKESPEARE: A Midsummer Night’s Dream
Use the following extract to answer the question that follows:
Lie bath rid his prologue like a rough colt: he knows not the stop.
A good moral, my lord: it is not enough to speak, but to speak true.
it is not enough to speak, but to speak true illustrates
- A. parable
- B. epitaph
- C. wisecrack
- D. epigram
WILLIAM SHAKESPEARE: A Midsummer Night’s Dream
Use the following extract to answer the question that follows:
Lie bath rid his prologue like a rough colt: he knows not the stop.
A good moral, my lord: it is not enough to speak, but to speak true.
The character that speaks before the speaker
- A. Demetrius
- B. Theseus
- C. Pyramus
- D. Hippolyta
WILLIAM SHAKESPEARE: A Midsummer Night’s Dream
Use the following extract to answer the question that follows:
Lie bath rid his prologue like a rough colt: he knows not the stop.
A good moral, my lord: it is not enough to speak, but to speak true.
The speaker is
- A. Hippolyta
- B. Lysander
- C. Pyramus
- D. Bottom
A dramatic performance with scenes played by body movements or gestures without words known as
- A. comedy
- B. pantomime
- C. panegyric
- D. melodrama
Letters, journals and diaries are examples of
- A. faction
- B. meta-fiction
- C. fiction
- D. non-fiction
UNSEEN PROSE AND POETRY
Read the passage below and answer the following questions:
Along marched the crowd, determined not to be distracted from its cause and the course it had charted. If anyone could intimidate the chief, it was Sasu, who led the crowd. The chief nurtured unruffled restraint. He knew Sasu, knew that Sasu would not waste the trust between them on renegades.
One way to divert a mob from its goal is to join in with it, lead it on, but, finally, veer it from the course of its cause. Onward, towards the chief’s palace marched the crowd, singing war songs.
The sun frowned as the palace guards, rattling like leaves in a storm – fear branded on their faces, came out to survey the threatening crowd and prepare for a siege. Just then, Sasu turned about, heading away from the palace – with the crowd, and the war songs.
The last paragraph illustrates
- A. anti-climax
- B. rising action
- C. suspense
- D. foreshadow
UNSEEN PROSE AND POETRY
Read the passage below and answer the following questions:
Along marched the crowd, determined not to be distracted from its cause and the course it had charted. If anyone could intimidate the chief, it was Sasu, who led the crowd. The chief nurtured unruffled restraint. He knew Sasu, knew that Sasu would not waste the trust between them on renegades.
One way to divert a mob from its goal is to join in with it, lead it on, but, finally, veer it from the course of its cause. Onward, towards the chief’s palace marched the crowd, singing war songs.
The sun frowned as the palace guards, rattling like leaves in a storm – fear branded on their faces, came out to survey the threatening crowd and prepare for a siege. Just then, Sasu turned about, heading away from the palace – with the crowd, and the war songs.
rattling like leaves in a storm, fear branded on their faces illustrates
- A. personification and simile
- B. personification and metaphor
- C. simile and metaphor
- D. assonance and simile
UNSEEN PROSE AND POETRY
Read the passage below and answer the following questions:
Along marched the crowd, determined not to be distracted from its cause and the course it had charted. If anyone could intimidate the chief, it was Sasu, who led the crowd. The chief nurtured unruffled restraint. He knew Sasu, knew that Sasu would not waste the trust between them on renegades.
One way to divert a mob from its goal is to join in with it, lead it on, but, finally, veer it from the course of its cause. Onward, towards the chief’s palace marched the crowd, singing war songs.
The sun frowned as the palace guards, rattling like leaves in a storm – fear branded on their faces, came out to survey the threatening crowd and prepare for a siege. Just then, Sasu turned about, heading away from the palace – with the crowd, and the war songs.
The attitude of the writer towards Sasu is one of
- A. surprise
- B. anger
- C. approval
- D. disdain
UNSEEN PROSE AND POETRY
Read the passage below and answer the following questions:
Along marched the crowd, determined not to be distracted from its cause and the course it had charted. If anyone could intimidate the chief, it was Sasu, who led the crowd. The chief nurtured unruffled restraint. He knew Sasu, knew that Sasu would not waste the trust between them on renegades.
One way to divert a mob from its goal is to join in with it, lead it on, but, finally, veer it from the course of its cause. Onward, towards the chief’s palace marched the crowd, singing war songs.
The sun frowned as the palace guards, rattling like leaves in a storm – fear branded on their faces, came out to survey the threatening crowd and prepare for a siege. Just then, Sasu turned about, heading away from the palace – with the crowd, and the war songs.
join in with it, lead it on, but, finally,veer it from illustrates
- A. allusion
- B. simile
- C. parallelism
- D. personification
UNSEEN PROSE AND POETRY
Read the passage below and answer the following questions:
Along marched the crowd, determined not to be distracted from its cause and the course it had charted. If anyone could intimidate the chief, it was Sasu, who led the crowd. The chief nurtured unruffled restraint. He knew Sasu, knew that Sasu would not waste the trust between them on renegades.
One way to divert a mob from its goal is to join in with it, lead it on, but, finally, veer it from the course of its cause. Onward, towards the chief’s palace marched the crowd, singing war songs.
The sun frowned as the palace guards, rattling like leaves in a storm – fear branded on their faces, came out to survey the threatening crowd and prepare for a siege. Just then, Sasu turned about, heading away from the palace – with the crowd, and the war songs.
The prevailing atmosphere is
- A. pleasant
- B. drab
- C. tense
- D. serene
Read the poem below and answer the question below:
Miniver Cheevy, child of scorn,
Grew lean while he assailed the seasons
He wept that he was ever born,
And he had reasons.
Miniver loved the days of old
When swords were bright and steeds prancing
The vision of a warrior bold
Would set him dancing.
The two stanzas are built on
- A. alternate rhyme
- B. identical rhymes
- C. couplets
- D. run-on lines
Read the poem below and answer the question below:
Miniver Cheevy, child of scorn,
Grew lean while he assailed the seasons
He wept that he was ever born,
And he had reasons.
Miniver loved the days of old
When swords were bright and steeds prancing
The vision of a warrior bold
Would set him dancing.
In the last stanza, the persona is
- A. fantasizing
- B. angry
- C. malnourished
- D. pretending
Read the poem below and answer the question below:
Miniver Cheevy, child of scorn,
Grew lean while he assailed the seasons
He wept that he was ever born,
And he had reasons.
Miniver loved the days of old
When swords were bright and steeds prancing
The vision of a warrior bold
Would set him dancing.
Reading the poem, one notices that the poet is being
- A. hyperbolic
- B. euphemistic
- C. ironic
- D. sarcastic
Read the poem below and answer the question below:
Miniver Cheevy, child of scorn,
Grew lean while he assailed the seasons
He wept that he was ever born,
And he had reasons.
Miniver loved the days of old
When swords were bright and steeds prancing
The vision of a warrior bold
Would set him dancing.
The metrical structure is predominantly
- A. trochaic
- B. dactyllic
- C. iambic
- D. spondaic
Read the poem below and answer the question below:
Miniver Cheevy, child of scorn,
Grew lean while he assailed the seasons
He wept that he was ever born,
And he had reasons.
Miniver loved the days of old
When swords were bright and steeds prancing
The vision of a warrior bold
Would set him dancing.
child of scorn illustrates
- A. euphemism
- B. contrast
- C. metaphor
- D. metonymy
The third stanza of the Shakespearean sonnet is
- A. couplet
- B. sextet
- C. octave
- D. quatrain
A dead metaphor is
- A. overused and ineffective
- B. implied and not funny
- C. implied and underused
- D. overused and funny
The moon looked on the massacre in horror ! illustrates
- A. pathetic fallacy
- B. prologue
- C. epilogue
- D. transferred epithet