CLEP Analyzing and Interpreting Literature Readiness Test

Rabindranath Tagore, translated by the author — Gitanjali 1 (1912 English collection). A prose-poem translated from Bengali by its author. Thou hast made me endless, such is thy pleasure. This frail vessel thou emptiest again and again, and fillest it ever with fresh life. This little flute of a reed thou hast carried over hills and dales, and hast breathed through it melodies eternally new. At the immortal touch of thy hands my little heart loses its limits in joy and gives birth to utterance ineffable. Thy infinite gifts come to me only on these very small hands of mine. Ages pass, and still thou pourest, and still there is room to fill. QUESTION Which quotation most directly supports this observation? Joy makes the heart seem to exceed its ordinary boundaries.

F. Scott Fitzgerald — The Great Gatsby — opening extract 5 (1925). Nick Carraway introduces his perspective and circumstances. And so with the sunshine and the great bursts of leaves growing on the trees, just as things grow in fast movies, I had that familiar conviction that life was beginning over again with the summer. There was so much to read, for one thing, and so much fine health to be pulled down out of the young breath-giving air. I bought a dozen volumes on banking and credit and investment securities, and they stood on my shelf in red and gold like new money from the mint, promising to unfold the shining secrets that only Midas and Morgan and Maecenas knew. And I had the high intention of reading many other books besides. I was rather literary in college—one year I wrote a series of very solemn and obvious editorials for the Yale News—and now I was going to bring back all such things into my life and become again that most limited of all specialists, the “well-rounded man.” This isn’t just an epigram—life is much more successfully looked at from a single window, after all. QUESTION What tension is expressed by calling the well-rounded man a limited specialist?

Susan Glaspell — Trifles — opening stage picture (1916). These opening stage directions introduce an investigation at the Wright farmhouse. SCENE: The kitchen is the now abandoned farmhouse of JOHN WRIGHT, a gloomy kitchen, and left without having been put in order--unwashed pans under the sink, a loaf of bread outside the bread-box, a dish-towel on the table--other signs of incompleted work. At the rear the outer door opens and the SHERIFF comes in followed by the COUNTY ATTORNEY and HALE. The SHERIFF and HALE are men in middle life, the COUNTY ATTORNEY is a young man; all are much bundled up and go at once to the stove. They are followed by the two women--the SHERIFF's wife first; she is a slight wiry woman, a thin nervous face. MRS HALE is larger and would ordinarily be called more comfortable looking, but she is disturbed now and looks fearfully about as she enters. The women have come in slowly, and stand close together near the door. QUESTION What do the bread, pans, and towel collectively suggest?

William Shakespeare — Sonnet 138 (1609). When my love swears that she is made of truth, I do believe her though I know she lies, That she might think me some untutor’d youth, Unlearned in the world’s false subtleties. Thus vainly thinking that she thinks me young, Although she knows my days are past the best, Simply I credit her false-speaking tongue: On both sides thus is simple truth suppressed: But wherefore says she not she is unjust? And wherefore say not I that I am old? O! love’s best habit is in seeming trust, And age in love, loves not to have years told: Therefore I lie with her, and she with me, And in our faults by lies we flatter’d be. QUESTION What image does the speaker wish to sustain?

Jane Austen — Pride and Prejudice — opening extract 2 (1813). The Bennets discuss a wealthy newcomer. “What is his name?” “Bingley.” “Is he married or single?” “Oh, single, my dear, to be sure! A single man of large fortune; four or five thousand a year. What a fine thing for our girls!” “How so? how can it affect them?” “My dear Mr. Bennet,” replied his wife, “how can you be so tiresome? You must know that I am thinking of his marrying one of them.” “Is that his design in settling here?” “Design? Nonsense, how can you talk so! But it is very likely that he may fall in love with one of them, and therefore you must visit him as soon as he comes.” “I see no occasion for that. You and the girls may go--or you may send them by themselves, which perhaps will be still better; for as you are as handsome as any of them, Mr. Bingley might like you the best of the party.” “My dear, you flatter me. I certainly have had my share of beauty, but I do not pretend to be anything extraordinary now. When a woman has five grown-up daughters, she ought to give over thinking of her own beauty.” QUESTION What is the likely effect of suggesting Bingley might prefer Mrs. Bennet?

Susan Glaspell — Trifles — opening stage picture (1916). These opening stage directions introduce an investigation at the Wright farmhouse. SCENE: The kitchen is the now abandoned farmhouse of JOHN WRIGHT, a gloomy kitchen, and left without having been put in order--unwashed pans under the sink, a loaf of bread outside the bread-box, a dish-towel on the table--other signs of incompleted work. At the rear the outer door opens and the SHERIFF comes in followed by the COUNTY ATTORNEY and HALE. The SHERIFF and HALE are men in middle life, the COUNTY ATTORNEY is a young man; all are much bundled up and go at once to the stove. They are followed by the two women--the SHERIFF's wife first; she is a slight wiry woman, a thin nervous face. MRS HALE is larger and would ordinarily be called more comfortable looking, but she is disturbed now and looks fearfully about as she enters. The women have come in slowly, and stand close together near the door. QUESTION Which quotation most directly supports this observation? The men move directly toward the stove while the women remain near the entrance.

William Shakespeare — Sonnet 60 (1609). Like as the waves make towards the pebbled shore, So do our minutes hasten to their end; Each changing place with that which goes before, In sequent toil all forwards do contend. Nativity, once in the main of light, Crawls to maturity, wherewith being crown’d, Crooked eclipses ’gainst his glory fight, And Time that gave doth now his gift confound. Time doth transfix the flourish set on youth And delves the parallels in beauty’s brow, Feeds on the rarities of nature’s truth, And nothing stands but for his scythe to mow: And yet to times in hope, my verse shall stand. Praising thy worth, despite his cruel hand. QUESTION What life sequence is compressed in the middle?

Jane Austen — Persuasion — opening extract 3 (1817/1818). The narrator examines the Elliot family and its social priorities. Vanity was the beginning and the end of Sir Walter Elliot’s character; vanity of person and of situation. He had been remarkably handsome in his youth; and, at fifty-four, was still a very fine man. Few women could think more of their personal appearance than he did, nor could the valet of any new made lord be more delighted with the place he held in society. He considered the blessing of beauty as inferior only to the blessing of a baronetcy; and the Sir Walter Elliot, who united these gifts, was the constant object of his warmest respect and devotion. His good looks and his rank had one fair claim on his attachment; since to them he must have owed a wife of very superior character to any thing deserved by his own. Lady Elliot had been an excellent woman, sensible and amiable; whose judgement and conduct, if they might be pardoned the youthful infatuation which made her Lady Elliot, had never required indulgence afterwards. She had humoured, or softened, or concealed his failings, and promoted his real respectability for seventeen years; and though not the very happiest being in the world herself, had found enough in her duties, her friends, and her children, to attach her to life, and make it no matter of indifference to her when she was called on to quit them. Three girls, the two eldest sixteen and fourteen, was an awful legacy for a mother to bequeath, an awful charge rather, to confide to the authority and guidance of a conceited, silly father. She had, however, one very intimate friend, a sensible, deserving woman, who had been brought, by strong attachment to herself, to settle close by her, in the village of Kellynch; and on her kindness and advice, Lady Elliot mainly relied for the best help and maintenance of the good principles and instruction which she had been anxiously giving her daughters. QUESTION Which quotation most directly supports this observation? She moderated or concealed his faults and made him more respectable.

William Shakespeare — The Tempest — the ended revels (early 17th century). Prospero addresses Ferdinand after a magical performance ends. Pros. = Prospero; Fer. = Ferdinand; Mir. = Miranda. Pros. You do look, my son, in a moved sort, As if you were dismay’d: be cheerful, sir. Our revels now are ended. These our actors, As I foretold you, were all spirits, and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp’d towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on; and our little life Is rounded with a sleep. Sir, I am vex’d; Bear with my weakness; my old brain is troubled: Be not disturb’d with my infirmity: If you be pleased, retire into my cell, And there repose: a turn or two I’ll walk, To still my beating mind. Fer. Mir. We wish your peace. [Exeunt.] QUESTION Which quotation most directly supports this observation? Prospero returns to his own troubled mental condition.

William Blake — Holy Thursday (Innocence) (1789). ’Twas on a holy Thursday, their innocent faces clean, The children walking two and two, in red, and blue, and green: Grey-headed beadles walked before, with wands as white as snow, Till into the high dome of Paul’s they like Thames waters flow. O what a multitude they seemed, these flowers of London town! Seated in companies they sit, with radiance all their own. The hum of multitudes was there, but multitudes of lambs, Thousands of little boys and girls raising their innocent hands. Now like a mighty wind they raise to heaven the voice of song, Or like harmonious thunderings the seats of heaven among: Beneath them sit the aged men, wise guardians of the poor. Then cherish pity, lest you drive an angel from your door. QUESTION What does the comparison to lambs foreground?