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Terms
1
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The poem as a whole is best described as a
dramatic retelling of a mythological story that resonates with the speaker's experience
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2
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The speaker's description of the reed's pith as being "like the heart of a man" (line 21) serves in part to emphasize
Pan's casual cruelty
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3
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The speaker's series of exclamations in lines 31-33 ("Sweet . . . Pan") interrupt the pace of the narrative in order to
dramatize the overwhelming beauty that is revealed as Pan begins to play
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4
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In lines 34-36 ("The sun . . . river"), the changes that occur in the setting surrounding the river most clearly serve to establish the
hypnotic beauty of Pan's music in comparison to his earlier activities
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5
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The description of Pan as "half a beast" in lines 37-38 ("Yet half . . . river") emphasizes that
although Pan has the ability to create beautiful music, he still remains a callous and destructive force
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6
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In the context of the final stanza, the scene of the "reeds in the river" (line 42) most clearly symbolizes
an ordinary existence as a nonpoet
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7
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The speaker's evolving description of the reed throughout the poem ultimately serves to emphasize a claim about the
heavy emotional toll that artistic creation takes on poets
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8
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The pacing of the narrative is set by the fact that the events it describes are
John's internal reactions to a series of people and things in the order he encounters them
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9
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In the second sentence of the final paragraph, the description of how John saw his family "like figures on a screen" most clearly emphasizes his
feeling of detachment from them
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10
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In the middle of the final paragraph, the details in the description of the kitchen ("The room was narrow . . . windows to dry") most clearly emphasize
the family's constant but futile efforts to keep their home and its contents clean
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11
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By describing the windows as gleaming "like beaten gold or silver" in the middle of the final paragraph, the narrator emphasizes both the physical appearance of the light shining through the windows and the
value of the family's diligent housekeeping despite the ever-present dust
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12
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The epiphany that John has toward the end of the final paragraph (". . . for was it not he, in his false pride and his evil imagination, who was filthy?") is a moment in which
his judgment of himself as well as of others leads him to feel intense guilt
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13
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Toward the end of the final paragraph, the narrator's description of how "the room shifted" most clearly serves to convey how
John's overpowering emotions evoke a different perspective on his mother
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14
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Toward the end of the final paragraph, what effect does the description of the photograph ("Her face . . . hate her") have on the pacing of the narrative?
It temporarily suspends the narrative of what John sees in the present and evokes an idealized vision of his mother.
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15
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Throughout the passage, the narrator draws a comparison between the literal dirt in the house and metaphorical moral "filth" most clearly in order to
emphasize John's feelings of dissatisfaction and resentment
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16
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The details in the passage suggest that the relationship of the "young lady" mentioned in the title to the speaker is that of
an inexperienced person seeking wise advice
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17
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In responding to the young lady, the speaker explicitly offers a
broad yet ultimately inadequate frame of reference
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18
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Which image from the poem most clearly suggests that the speaker considers love to be a condition worthy of pity?
A ship wrecked on a dangerous coast
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19
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Images in lines 15-32 ("Say what . . . there") represent the lover through the motif of
a traveler who cannot reach a desired destination
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20
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Which interpretation of the last stanza (lines 21-32) is most fully supported by the speaker's statements and use of imagery?
person's first love leaves a stronger impression than all others.
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21
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The comparison to a "bee" in line 23 most clearly serves to emphasize the
persistence of spurned lovers in hunting for new objects for their affections
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22
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The relationship between Farebrother and Lydgate can best be described as
formal
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23
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To the narrator and Lydgate, the furnishings of the parsonage seem to embody a more
affluent, bygone era
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24
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In the middle of the passage, Lydgate's reaction to Farebrother's domestic situation ("Lydgate had not expected to see so quaint a group: knowing simply that Mr. Farebrother was a bachelor, he had thought of being ushered into a snuggery where the chief furniture would probably be books and collections of natural objects") reveals that
Farebrother does not fit Lydgate's notion of a bachelor
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25
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The fact that Lydgate initially considers the possibility that Farebrother might have appeared "like an actor of genial parts disadvantageously cast for the curmudgeon," near the middle of the passage, but then decides that the comparison is not appropriate, primarily serves to emphasize that Farebrother
is not ill-tempered and difficult around his family
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26
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What does Lydgate's observation, near the middle of the passage, that Farebrother seemed "a trifle milder and more silent" at home reveal about Farebrother's relationship to the others in the room?
He has a great deal of respect for the elder members of his family.
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27
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In the context of the passage as a whole, the description at the end of the passage of Miss Noble's actions ("Meanwhile tiny Miss Noble . . . luxury of giving") suggests that the narrator
is able to provide accurate details about Miss Noble's inner thoughts and motivations
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28
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The narrator's comparison of Miss Noble to a "tiny timid quadruped" near the end of the passage suggests that she is a
harmless creature who is acting in part out of instinct
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29
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In the first, third, and final paragraphs, the repeated references to Lila's unborn child ("this child," "the child," "this baby") have which effect?
They punctuate the ongoing narrative to show how Lila's thoughts continually return to the child.
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30
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The description in the second paragraph ("You could see . . . without lying") of Lila's thoughts about the pelicans at the river is best described as a
stream-of-consciousness presentation of how Lila's thoughts quickly roam from the present to the past to the future
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31
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After Lila's musings about the pelicans, the sentence at the end of the second paragraph has which effect?
It undercuts the poetic description of the pelicans to reveal that she thinks of them primarily as an alibi.
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32
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In the second paragraph, "She'd never once heard of anybody eating one" suggests which of the following about Lila's past relationship to her surroundings?
She has primarily been focused on the practical aspects of survival.
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33
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The description in the third paragraph ("She'd . . . wind") suggests that the cornfield in part symbolizes
Lila's apprehension about the future and her fear that her secure life with her new husband will not last
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34
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As described in the final paragraph, the changes that have occurred in the area around the shack suggest that
Lila is returning to the shack after a long absence
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35
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How has Lila changed as a result of having "this baby now to think about" (paragraph 4) ?
She is cautious in her approach to the shack, whereas before she might have approached it with less hesitation.
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36
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Throughout the passage, the narrator shapes the narrative by providing
insight into Lila's thought processes that would be inaccessible to anyone but Lila
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