Verb Tenses - GED Language Arts (RLA)
Card 0 of 24
From Julius Caesar by William Shakespeare, III.ii.13-33 (1599)
\[This is a speech by Brutus to a crowd at Caesar’s funeral.\]
Romans, countrymen, and lovers! Hear me for my
cause, and be silent, that you may hear. Believe me
for mine honor, and have respect to mine honor, that
you may believe. Censure me in your wisdom, and
awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of
Caesar's, to him I say that Brutus' love to Caesar
was no less than his. If then that friend demand
why Brutus rose against Caesar, this is my answer:
Not that I loved Caesar less, but that I loved
Rome more. Had you rather Caesar were living and
die all slaves, than that Caesar were dead to live
all free men? As Caesar loved me, I weep for him;
as he was fortunate, I rejoice at it; as he was
valiant, I honor him; but as he was ambitious, I
slew him. There is tears for his love, joy for his
fortune, honor for his valor, and death for his
ambition. Who is here so base that would be a
bondman? If any, speak, for him have I offended.
Who is here so rude that would not be a Roman? If
any, speak, for him have I offended. Who is here so
vile that will not love his country? If any, speak,
for him have I offended. I pause for a reply.
What is the purpose of the word "have" in the underlined sentence?
From Julius Caesar by William Shakespeare, III.ii.13-33 (1599)
\[This is a speech by Brutus to a crowd at Caesar’s funeral.\]
Romans, countrymen, and lovers! Hear me for my
cause, and be silent, that you may hear. Believe me
for mine honor, and have respect to mine honor, that
you may believe. Censure me in your wisdom, and
awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of
Caesar's, to him I say that Brutus' love to Caesar
was no less than his. If then that friend demand
why Brutus rose against Caesar, this is my answer:
Not that I loved Caesar less, but that I loved
Rome more. Had you rather Caesar were living and
die all slaves, than that Caesar were dead to live
all free men? As Caesar loved me, I weep for him;
as he was fortunate, I rejoice at it; as he was
valiant, I honor him; but as he was ambitious, I
slew him. There is tears for his love, joy for his
fortune, honor for his valor, and death for his
ambition. Who is here so base that would be a
bondman? If any, speak, for him have I offended.
Who is here so rude that would not be a Roman? If
any, speak, for him have I offended. Who is here so
vile that will not love his country? If any, speak,
for him have I offended. I pause for a reply.
What is the purpose of the word "have" in the underlined sentence?
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The verb "have" is here being used as a helping or auxiliary verb in combination with the participle "offended." Brutus is saying that he has offended only the vile by his speech. The present perfect (which is a type of past tense that is indeterminate about when in the past something happened before now) requires the use of a form of "have" with the participle. For example: He has eaten; we have shouted, you have forgotten. This is how it is used in this sentence.
The verb "have" is here being used as a helping or auxiliary verb in combination with the participle "offended." Brutus is saying that he has offended only the vile by his speech. The present perfect (which is a type of past tense that is indeterminate about when in the past something happened before now) requires the use of a form of "have" with the participle. For example: He has eaten; we have shouted, you have forgotten. This is how it is used in this sentence.
Although a work of fiction, Mariama Bâ's 1979 novel, So Long a Letter is also, in a sense, a manifesto of the female African experience, one that has all too often been consigned to a footnote in history books. Within the overarching colonial narrative of African marginalization, black women have been marginalized farther. In their respective accounts, Jomo Kenyatta and Franz Fanon put their own words in the mouths of female subjects: in more objective histories, women are hardly spoken of at all. By taking a comparative approach, however, the history of African women in the colonial and post-colonial eras can be patched together into something comprehensible. With Bâ’s voice as a guide, a more complex narrative comes out of the darkness of historical silence and bias to revealing significant degrees of female agency and expression.
Replace the bolded and underlined portion with the answer choice that results in a sentence that is clear, precise, and meets the requirements of standard written English. One of the answer choices reproduces the underlined portion as it is written in the sentence.
Although a work of fiction, Mariama Bâ's 1979 novel, So Long a Letter is also, in a sense, a manifesto of the female African experience, one that has all too often been consigned to a footnote in history books. Within the overarching colonial narrative of African marginalization, black women have been marginalized farther. In their respective accounts, Jomo Kenyatta and Franz Fanon put their own words in the mouths of female subjects: in more objective histories, women are hardly spoken of at all. By taking a comparative approach, however, the history of African women in the colonial and post-colonial eras can be patched together into something comprehensible. With Bâ’s voice as a guide, a more complex narrative comes out of the darkness of historical silence and bias to revealing significant degrees of female agency and expression.
Replace the bolded and underlined portion with the answer choice that results in a sentence that is clear, precise, and meets the requirements of standard written English. One of the answer choices reproduces the underlined portion as it is written in the sentence.
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The phrase “to revealing” is grammatically incorrect because it lacks a helping verb. “Having been revealed” and “have revealed” both complicate the tense of the sentence, while “start revealing” changes the meaning of the sentence. The most simple and correct response is “reveal.”
The phrase “to revealing” is grammatically incorrect because it lacks a helping verb. “Having been revealed” and “have revealed” both complicate the tense of the sentence, while “start revealing” changes the meaning of the sentence. The most simple and correct response is “reveal.”
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
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The verb tense "indicating" is making this into a sentence fragment. The sentence becomes complete by putting the verb into the present tense and according it with the plural subject ("clouds").
The verb tense "indicating" is making this into a sentence fragment. The sentence becomes complete by putting the verb into the present tense and according it with the plural subject ("clouds").
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the correct verb.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the correct verb.
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The subject the verb needs to agree with is "each." Although we're talking about three ads in total, "each" is actually a singular pronoun, not a plural. It's a word that tells you that although there are many things, we're going to be looking at them one by one. The verb should also be in the present tense. "Features" is therefore the correct choice.
The subject the verb needs to agree with is "each." Although we're talking about three ads in total, "each" is actually a singular pronoun, not a plural. It's a word that tells you that although there are many things, we're going to be looking at them one by one. The verb should also be in the present tense. "Features" is therefore the correct choice.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
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The participle form of the verb "to be" makes this into a sentence fragment. By putting it in the plural present tense ("are"), the sentence contains a subject ("qualities") and verb ("are").
The participle form of the verb "to be" makes this into a sentence fragment. By putting it in the plural present tense ("are"), the sentence contains a subject ("qualities") and verb ("are").
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
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The correct verb tense here is the present progressive.
The correct verb tense here is the present progressive.
From Julius Caesar by William Shakespeare, III.ii.13-33 (1599)
\[This is a speech by Brutus to a crowd at Caesar’s funeral.\]
Romans, countrymen, and lovers! Hear me for my
cause, and be silent, that you may hear. Believe me
for mine honor, and have respect to mine honor, that
you may believe. Censure me in your wisdom, and
awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of
Caesar's, to him I say that Brutus' love to Caesar
was no less than his. If then that friend demand
why Brutus rose against Caesar, this is my answer:
Not that I loved Caesar less, but that I loved
Rome more. Had you rather Caesar were living and
die all slaves, than that Caesar were dead to live
all free men? As Caesar loved me, I weep for him;
as he was fortunate, I rejoice at it; as he was
valiant, I honor him; but as he was ambitious, I
slew him. There is tears for his love, joy for his
fortune, honor for his valor, and death for his
ambition. Who is here so base that would be a
bondman? If any, speak, for him have I offended.
Who is here so rude that would not be a Roman? If
any, speak, for him have I offended. Who is here so
vile that will not love his country? If any, speak,
for him have I offended. I pause for a reply.
What is the purpose of the word "have" in the underlined sentence?
From Julius Caesar by William Shakespeare, III.ii.13-33 (1599)
\[This is a speech by Brutus to a crowd at Caesar’s funeral.\]
Romans, countrymen, and lovers! Hear me for my
cause, and be silent, that you may hear. Believe me
for mine honor, and have respect to mine honor, that
you may believe. Censure me in your wisdom, and
awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of
Caesar's, to him I say that Brutus' love to Caesar
was no less than his. If then that friend demand
why Brutus rose against Caesar, this is my answer:
Not that I loved Caesar less, but that I loved
Rome more. Had you rather Caesar were living and
die all slaves, than that Caesar were dead to live
all free men? As Caesar loved me, I weep for him;
as he was fortunate, I rejoice at it; as he was
valiant, I honor him; but as he was ambitious, I
slew him. There is tears for his love, joy for his
fortune, honor for his valor, and death for his
ambition. Who is here so base that would be a
bondman? If any, speak, for him have I offended.
Who is here so rude that would not be a Roman? If
any, speak, for him have I offended. Who is here so
vile that will not love his country? If any, speak,
for him have I offended. I pause for a reply.
What is the purpose of the word "have" in the underlined sentence?
Tap to see back →
The verb "have" is here being used as a helping or auxiliary verb in combination with the participle "offended." Brutus is saying that he has offended only the vile by his speech. The present perfect (which is a type of past tense that is indeterminate about when in the past something happened before now) requires the use of a form of "have" with the participle. For example: He has eaten; we have shouted, you have forgotten. This is how it is used in this sentence.
The verb "have" is here being used as a helping or auxiliary verb in combination with the participle "offended." Brutus is saying that he has offended only the vile by his speech. The present perfect (which is a type of past tense that is indeterminate about when in the past something happened before now) requires the use of a form of "have" with the participle. For example: He has eaten; we have shouted, you have forgotten. This is how it is used in this sentence.
Although a work of fiction, Mariama Bâ's 1979 novel, So Long a Letter is also, in a sense, a manifesto of the female African experience, one that has all too often been consigned to a footnote in history books. Within the overarching colonial narrative of African marginalization, black women have been marginalized farther. In their respective accounts, Jomo Kenyatta and Franz Fanon put their own words in the mouths of female subjects: in more objective histories, women are hardly spoken of at all. By taking a comparative approach, however, the history of African women in the colonial and post-colonial eras can be patched together into something comprehensible. With Bâ’s voice as a guide, a more complex narrative comes out of the darkness of historical silence and bias to revealing significant degrees of female agency and expression.
Replace the bolded and underlined portion with the answer choice that results in a sentence that is clear, precise, and meets the requirements of standard written English. One of the answer choices reproduces the underlined portion as it is written in the sentence.
Although a work of fiction, Mariama Bâ's 1979 novel, So Long a Letter is also, in a sense, a manifesto of the female African experience, one that has all too often been consigned to a footnote in history books. Within the overarching colonial narrative of African marginalization, black women have been marginalized farther. In their respective accounts, Jomo Kenyatta and Franz Fanon put their own words in the mouths of female subjects: in more objective histories, women are hardly spoken of at all. By taking a comparative approach, however, the history of African women in the colonial and post-colonial eras can be patched together into something comprehensible. With Bâ’s voice as a guide, a more complex narrative comes out of the darkness of historical silence and bias to revealing significant degrees of female agency and expression.
Replace the bolded and underlined portion with the answer choice that results in a sentence that is clear, precise, and meets the requirements of standard written English. One of the answer choices reproduces the underlined portion as it is written in the sentence.
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The phrase “to revealing” is grammatically incorrect because it lacks a helping verb. “Having been revealed” and “have revealed” both complicate the tense of the sentence, while “start revealing” changes the meaning of the sentence. The most simple and correct response is “reveal.”
The phrase “to revealing” is grammatically incorrect because it lacks a helping verb. “Having been revealed” and “have revealed” both complicate the tense of the sentence, while “start revealing” changes the meaning of the sentence. The most simple and correct response is “reveal.”
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
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The verb tense "indicating" is making this into a sentence fragment. The sentence becomes complete by putting the verb into the present tense and according it with the plural subject ("clouds").
The verb tense "indicating" is making this into a sentence fragment. The sentence becomes complete by putting the verb into the present tense and according it with the plural subject ("clouds").
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the correct verb.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the correct verb.
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The subject the verb needs to agree with is "each." Although we're talking about three ads in total, "each" is actually a singular pronoun, not a plural. It's a word that tells you that although there are many things, we're going to be looking at them one by one. The verb should also be in the present tense. "Features" is therefore the correct choice.
The subject the verb needs to agree with is "each." Although we're talking about three ads in total, "each" is actually a singular pronoun, not a plural. It's a word that tells you that although there are many things, we're going to be looking at them one by one. The verb should also be in the present tense. "Features" is therefore the correct choice.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
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The participle form of the verb "to be" makes this into a sentence fragment. By putting it in the plural present tense ("are"), the sentence contains a subject ("qualities") and verb ("are").
The participle form of the verb "to be" makes this into a sentence fragment. By putting it in the plural present tense ("are"), the sentence contains a subject ("qualities") and verb ("are").
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
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The correct verb tense here is the present progressive.
The correct verb tense here is the present progressive.
From Julius Caesar by William Shakespeare, III.ii.13-33 (1599)
\[This is a speech by Brutus to a crowd at Caesar’s funeral.\]
Romans, countrymen, and lovers! Hear me for my
cause, and be silent, that you may hear. Believe me
for mine honor, and have respect to mine honor, that
you may believe. Censure me in your wisdom, and
awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of
Caesar's, to him I say that Brutus' love to Caesar
was no less than his. If then that friend demand
why Brutus rose against Caesar, this is my answer:
Not that I loved Caesar less, but that I loved
Rome more. Had you rather Caesar were living and
die all slaves, than that Caesar were dead to live
all free men? As Caesar loved me, I weep for him;
as he was fortunate, I rejoice at it; as he was
valiant, I honor him; but as he was ambitious, I
slew him. There is tears for his love, joy for his
fortune, honor for his valor, and death for his
ambition. Who is here so base that would be a
bondman? If any, speak, for him have I offended.
Who is here so rude that would not be a Roman? If
any, speak, for him have I offended. Who is here so
vile that will not love his country? If any, speak,
for him have I offended. I pause for a reply.
What is the purpose of the word "have" in the underlined sentence?
From Julius Caesar by William Shakespeare, III.ii.13-33 (1599)
\[This is a speech by Brutus to a crowd at Caesar’s funeral.\]
Romans, countrymen, and lovers! Hear me for my
cause, and be silent, that you may hear. Believe me
for mine honor, and have respect to mine honor, that
you may believe. Censure me in your wisdom, and
awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of
Caesar's, to him I say that Brutus' love to Caesar
was no less than his. If then that friend demand
why Brutus rose against Caesar, this is my answer:
Not that I loved Caesar less, but that I loved
Rome more. Had you rather Caesar were living and
die all slaves, than that Caesar were dead to live
all free men? As Caesar loved me, I weep for him;
as he was fortunate, I rejoice at it; as he was
valiant, I honor him; but as he was ambitious, I
slew him. There is tears for his love, joy for his
fortune, honor for his valor, and death for his
ambition. Who is here so base that would be a
bondman? If any, speak, for him have I offended.
Who is here so rude that would not be a Roman? If
any, speak, for him have I offended. Who is here so
vile that will not love his country? If any, speak,
for him have I offended. I pause for a reply.
What is the purpose of the word "have" in the underlined sentence?
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The verb "have" is here being used as a helping or auxiliary verb in combination with the participle "offended." Brutus is saying that he has offended only the vile by his speech. The present perfect (which is a type of past tense that is indeterminate about when in the past something happened before now) requires the use of a form of "have" with the participle. For example: He has eaten; we have shouted, you have forgotten. This is how it is used in this sentence.
The verb "have" is here being used as a helping or auxiliary verb in combination with the participle "offended." Brutus is saying that he has offended only the vile by his speech. The present perfect (which is a type of past tense that is indeterminate about when in the past something happened before now) requires the use of a form of "have" with the participle. For example: He has eaten; we have shouted, you have forgotten. This is how it is used in this sentence.
Although a work of fiction, Mariama Bâ's 1979 novel, So Long a Letter is also, in a sense, a manifesto of the female African experience, one that has all too often been consigned to a footnote in history books. Within the overarching colonial narrative of African marginalization, black women have been marginalized farther. In their respective accounts, Jomo Kenyatta and Franz Fanon put their own words in the mouths of female subjects: in more objective histories, women are hardly spoken of at all. By taking a comparative approach, however, the history of African women in the colonial and post-colonial eras can be patched together into something comprehensible. With Bâ’s voice as a guide, a more complex narrative comes out of the darkness of historical silence and bias to revealing significant degrees of female agency and expression.
Replace the bolded and underlined portion with the answer choice that results in a sentence that is clear, precise, and meets the requirements of standard written English. One of the answer choices reproduces the underlined portion as it is written in the sentence.
Although a work of fiction, Mariama Bâ's 1979 novel, So Long a Letter is also, in a sense, a manifesto of the female African experience, one that has all too often been consigned to a footnote in history books. Within the overarching colonial narrative of African marginalization, black women have been marginalized farther. In their respective accounts, Jomo Kenyatta and Franz Fanon put their own words in the mouths of female subjects: in more objective histories, women are hardly spoken of at all. By taking a comparative approach, however, the history of African women in the colonial and post-colonial eras can be patched together into something comprehensible. With Bâ’s voice as a guide, a more complex narrative comes out of the darkness of historical silence and bias to revealing significant degrees of female agency and expression.
Replace the bolded and underlined portion with the answer choice that results in a sentence that is clear, precise, and meets the requirements of standard written English. One of the answer choices reproduces the underlined portion as it is written in the sentence.
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The phrase “to revealing” is grammatically incorrect because it lacks a helping verb. “Having been revealed” and “have revealed” both complicate the tense of the sentence, while “start revealing” changes the meaning of the sentence. The most simple and correct response is “reveal.”
The phrase “to revealing” is grammatically incorrect because it lacks a helping verb. “Having been revealed” and “have revealed” both complicate the tense of the sentence, while “start revealing” changes the meaning of the sentence. The most simple and correct response is “reveal.”
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
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The verb tense "indicating" is making this into a sentence fragment. The sentence becomes complete by putting the verb into the present tense and according it with the plural subject ("clouds").
The verb tense "indicating" is making this into a sentence fragment. The sentence becomes complete by putting the verb into the present tense and according it with the plural subject ("clouds").
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the correct verb.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the correct verb.
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The subject the verb needs to agree with is "each." Although we're talking about three ads in total, "each" is actually a singular pronoun, not a plural. It's a word that tells you that although there are many things, we're going to be looking at them one by one. The verb should also be in the present tense. "Features" is therefore the correct choice.
The subject the verb needs to agree with is "each." Although we're talking about three ads in total, "each" is actually a singular pronoun, not a plural. It's a word that tells you that although there are many things, we're going to be looking at them one by one. The verb should also be in the present tense. "Features" is therefore the correct choice.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
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The participle form of the verb "to be" makes this into a sentence fragment. By putting it in the plural present tense ("are"), the sentence contains a subject ("qualities") and verb ("are").
The participle form of the verb "to be" makes this into a sentence fragment. By putting it in the plural present tense ("are"), the sentence contains a subject ("qualities") and verb ("are").
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
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The correct verb tense here is the present progressive.
The correct verb tense here is the present progressive.
From Julius Caesar by William Shakespeare, III.ii.13-33 (1599)
\[This is a speech by Brutus to a crowd at Caesar’s funeral.\]
Romans, countrymen, and lovers! Hear me for my
cause, and be silent, that you may hear. Believe me
for mine honor, and have respect to mine honor, that
you may believe. Censure me in your wisdom, and
awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of
Caesar's, to him I say that Brutus' love to Caesar
was no less than his. If then that friend demand
why Brutus rose against Caesar, this is my answer:
Not that I loved Caesar less, but that I loved
Rome more. Had you rather Caesar were living and
die all slaves, than that Caesar were dead to live
all free men? As Caesar loved me, I weep for him;
as he was fortunate, I rejoice at it; as he was
valiant, I honor him; but as he was ambitious, I
slew him. There is tears for his love, joy for his
fortune, honor for his valor, and death for his
ambition. Who is here so base that would be a
bondman? If any, speak, for him have I offended.
Who is here so rude that would not be a Roman? If
any, speak, for him have I offended. Who is here so
vile that will not love his country? If any, speak,
for him have I offended. I pause for a reply.
What is the purpose of the word "have" in the underlined sentence?
From Julius Caesar by William Shakespeare, III.ii.13-33 (1599)
\[This is a speech by Brutus to a crowd at Caesar’s funeral.\]
Romans, countrymen, and lovers! Hear me for my
cause, and be silent, that you may hear. Believe me
for mine honor, and have respect to mine honor, that
you may believe. Censure me in your wisdom, and
awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of
Caesar's, to him I say that Brutus' love to Caesar
was no less than his. If then that friend demand
why Brutus rose against Caesar, this is my answer:
Not that I loved Caesar less, but that I loved
Rome more. Had you rather Caesar were living and
die all slaves, than that Caesar were dead to live
all free men? As Caesar loved me, I weep for him;
as he was fortunate, I rejoice at it; as he was
valiant, I honor him; but as he was ambitious, I
slew him. There is tears for his love, joy for his
fortune, honor for his valor, and death for his
ambition. Who is here so base that would be a
bondman? If any, speak, for him have I offended.
Who is here so rude that would not be a Roman? If
any, speak, for him have I offended. Who is here so
vile that will not love his country? If any, speak,
for him have I offended. I pause for a reply.
What is the purpose of the word "have" in the underlined sentence?
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The verb "have" is here being used as a helping or auxiliary verb in combination with the participle "offended." Brutus is saying that he has offended only the vile by his speech. The present perfect (which is a type of past tense that is indeterminate about when in the past something happened before now) requires the use of a form of "have" with the participle. For example: He has eaten; we have shouted, you have forgotten. This is how it is used in this sentence.
The verb "have" is here being used as a helping or auxiliary verb in combination with the participle "offended." Brutus is saying that he has offended only the vile by his speech. The present perfect (which is a type of past tense that is indeterminate about when in the past something happened before now) requires the use of a form of "have" with the participle. For example: He has eaten; we have shouted, you have forgotten. This is how it is used in this sentence.
Although a work of fiction, Mariama Bâ's 1979 novel, So Long a Letter is also, in a sense, a manifesto of the female African experience, one that has all too often been consigned to a footnote in history books. Within the overarching colonial narrative of African marginalization, black women have been marginalized farther. In their respective accounts, Jomo Kenyatta and Franz Fanon put their own words in the mouths of female subjects: in more objective histories, women are hardly spoken of at all. By taking a comparative approach, however, the history of African women in the colonial and post-colonial eras can be patched together into something comprehensible. With Bâ’s voice as a guide, a more complex narrative comes out of the darkness of historical silence and bias to revealing significant degrees of female agency and expression.
Replace the bolded and underlined portion with the answer choice that results in a sentence that is clear, precise, and meets the requirements of standard written English. One of the answer choices reproduces the underlined portion as it is written in the sentence.
Although a work of fiction, Mariama Bâ's 1979 novel, So Long a Letter is also, in a sense, a manifesto of the female African experience, one that has all too often been consigned to a footnote in history books. Within the overarching colonial narrative of African marginalization, black women have been marginalized farther. In their respective accounts, Jomo Kenyatta and Franz Fanon put their own words in the mouths of female subjects: in more objective histories, women are hardly spoken of at all. By taking a comparative approach, however, the history of African women in the colonial and post-colonial eras can be patched together into something comprehensible. With Bâ’s voice as a guide, a more complex narrative comes out of the darkness of historical silence and bias to revealing significant degrees of female agency and expression.
Replace the bolded and underlined portion with the answer choice that results in a sentence that is clear, precise, and meets the requirements of standard written English. One of the answer choices reproduces the underlined portion as it is written in the sentence.
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The phrase “to revealing” is grammatically incorrect because it lacks a helping verb. “Having been revealed” and “have revealed” both complicate the tense of the sentence, while “start revealing” changes the meaning of the sentence. The most simple and correct response is “reveal.”
The phrase “to revealing” is grammatically incorrect because it lacks a helping verb. “Having been revealed” and “have revealed” both complicate the tense of the sentence, while “start revealing” changes the meaning of the sentence. The most simple and correct response is “reveal.”