Card 0 of 48
Adapted from White Fang by Jack London (1906)
Dark spruce forest frowned on either side the frozen waterway. The trees had been stripped by a recent wind of their white covering of frost, and they seemed to lean toward each other, black and ominous, in the fading light. A vast silence reigned over the land. The land itself was a desolation, lifeless, without movement, so lone and cold that the spirit of it was not even that of sadness. There was a hint in it of laughter, but of a laughter more terrible than any sadness -- a laughter that was mirthless1 as the smile of the Sphinx, a laughter cold as the frost and partaking of the grimness of infallibility. It was the masterful and incommunicable wisdom of eternity laughing at the futility of life and the effort of life. It was the Wild, the savage, frozen-hearted Northland Wild.
But there was life, abroad in the land and defiant. Down the frozen waterway toiled a string of wolfish dogs. Their bristly fur was rimed with frost. Their breath froze in the air as it left their mouths, spouting forth in spumes of vapor that settled upon the hair of their bodies and formed into crystals of frost. Leather harness was on the dogs, and leather traces attached them to a sled which dragged along behind. On the sled, securely lashed, was a long and narrow oblong box. There were other things on the sled -- blankets, an axe, and a coffee-pot and frying-pan; but prominent, occupying most of the space, was the long and narrow oblong box.
In advance of the dogs, on wide snowshoes, toiled a man. At the rear of the sled toiled a second man. On the sled, in the box, lay a third man whose toil was over, -- a man whom the Wild had conquered and beaten down until he would never move nor struggle again.
But at front and rear, unawed and indomitable, toiled the two men who were not yet dead. Their bodies were covered with fur and soft-tanned leather. Eyelashes and cheeks and lips were so coated with the crystals from their frozen breath that their faces were not discernible. This gave them the seeming of ghostly masques, undertakers in a spectral world at the funeral of some ghost. But under it all they were men, penetrating the land of desolation and mockery and silence, puny adventurers bent on colossal adventure, pitting themselves against the might of a world as remote and alien and pulseless as the abysses of space.
They travelled on without speech, saving their breath for the work of their bodies. On every side was the silence, pressing upon them with a tangible presence.
The pale light of the short sunless day was beginning to fade, when a faint far cry arose on the still air. It soared upward with a swift rush, till it reached its topmost note, where it persisted, palpitant and tense, and then slowly died away. It might have been a lost soul wailing, had it not been invested with a certain sad fierceness and hungry eagerness.
A second cry arose, piercing the silence with needlelike shrillness. Both men located the sound. It was to the rear, somewhere in the snow expanse they had just traversed. A third and answering cry arose, also to the rear and to the left of the second cry.
"They're after us, Bill," said the man at the front.
"Meat is scarce," answered his comrade. "I ain't seen a rabbit sign for days.”
At the fall of darkness they swung the dogs into a cluster of spruce trees on the edge of the waterway and made a camp. The coffin, at the side of the fire, served for seat and table. The wolf-dogs, clustered on the far side of the fire, snarled and bickered among themselves, but evinced no inclination to stray off into the darkness.
- - -
"Henry," said Bill, munching with deliberation the beans he was eating, "How many dogs 've we got, Henry?"
"Six."
"Well, Henry . . ." Bill stopped for a moment, in order that his words might gain greater significance. "As I was sayin', Henry, we've got six dogs. I took six fish out of the bag. I gave one fish to each dog, an', Henry, I was one fish short."
"You counted wrong."
"We've got six dogs," the other reiterated dispassionately. "took out six fish. One Ear didn't get no fish. I come back to the bag afterward an' got 'm his fish."
"We've only got six dogs," Henry said.
"Henry," Bill went on, "I won't say they was all dogs, but there was seven of 'm that got fish."
Henry stopped eating to glance across the fire and count the dogs.
"There's only six now," he said.
"I saw the other one run off across the snow," Bill announced with cool positiveness. "I saw seven.”
Bill opened his mouth to speak, but changed his mind. Instead, he pointed toward the wall of darkness that pressed about them from every side. There was no suggestion of form in the utter blackness; only could be seen a pair of eyes gleaming like live coals. Henry indicated with his head a second pair, and a third. A circle of the gleaming eyes had drawn about their camp.
What aspect of the ancient story of Oedipus and the Sphinx does the author allude to in the first paragraph?
(Note: "mirth" means amusement or finding something to be humorous.)
The author alludes to the Sphinx in the first paragraph:
A vast silence reigned over the land. The land itself was a desolation, lifeless, without movement, so lone and cold that the spirit of it was not even that of sadness. There was a hint in it of laughter, but of a laughter more terrible than any sadness -- a laughter that was mirthless as the smile of the Sphinx, a laughter cold as the frost and partaking of the grimness of infallibility. It was the masterful and incommunicable wisdom of eternity laughing at the futility of life and the effort of life.
To understand this statement, we need to understand the word "mirthless." "Mirth" means amusement or the state of finding something to be humorous, as the footnote tells us. Thus, the author is saying that the environment has in it a hint of laughter that is not amused, like the smile of the Sphinx. How does this relate to the story the author is referencing? In the story of Oedipus and the Sphinx, the Sphinx is sitting outside the city of Thebes and asking travelers a riddle. If someone can't answer the riddle correctly, the Sphinx eats them. No one is able to solve the riddle and Thebes is suffering until Oedipus confronts the Sphinx, correctly solves its riddle, and frees the city. The smile the Sphinx would have would probably be "mirthless," then—we can imagine that it might smile at people who try to solve the riddle but fail. Those people it would eat! So, it's a very dangerous thing, just like the environment, and the author is making the allusion to emphasize how dangerous the environment is. The correct answer is "the danger it presents and its refusal to show mercy to anyone who can’t answer its riddle."
Regardless of whether you're familiar with the story to which the author is referring, you can answer this question correctly by narrowing down the answer choices. Let's try that approach. How else does the author describe this "laughter" that the environment seems to convey? It says that it is "a laughter cold as the frost and partaking of the grimness of infallibility." That's not very pleasant—it's a mean sort of laughter. The allusion to the Sphinx will likely parallel with this idea and be used to convey a similar sort of "meanness." The answer choice closest to this is the one that mentions how the Sphinx doesn't show mercy to anyone who tries to answer its riddle, and also mentions how it's very dangerous. The meaning of "mirthless" has nothing to do with the riddle's difficulty, the fact that the Sphinx is blockading a city, the idea that Oedipus eventually answers the riddle correctly, or the fact that the Sphinx is a mythical creature, so it must have to do with the danger the Sphinx presents.
Compare your answer with the correct one above
Adapted from White Fang by Jack London (1906)
Dark spruce forest frowned on either side the frozen waterway. The trees had been stripped by a recent wind of their white covering of frost, and they seemed to lean toward each other, black and ominous, in the fading light. A vast silence reigned over the land. The land itself was a desolation, lifeless, without movement, so lone and cold that the spirit of it was not even that of sadness. There was a hint in it of laughter, but of a laughter more terrible than any sadness -- a laughter that was mirthless as the smile of the Sphinx, a laughter cold as the frost and partaking of the grimness of infallibility. It was the masterful and incommunicable wisdom of eternity laughing at the futility of life and the effort of life. It was the Wild, the savage, frozen-hearted Northland Wild.
But there was life, abroad in the land and defiant. Down the frozen waterway toiled a string of wolfish dogs. Their bristly fur was rimed with frost. Their breath froze in the air as it left their mouths, spouting forth in spumes of vapor that settled upon the hair of their bodies and formed into crystals of frost. Leather harness was on the dogs, and leather traces attached them to a sled which dragged along behind. On the sled, securely lashed, was a long and narrow oblong box. There were other things on the sled -- blankets, an axe, and a coffee-pot and frying-pan; but prominent, occupying most of the space, was the long and narrow oblong box.
In advance of the dogs, on wide snowshoes, toiled a man. At the rear of the sled toiled a second man. On the sled, in the box, lay a third man whose toil was over, -- a man whom the Wild had conquered and beaten down until he would never move nor struggle again.
But at front and rear, unawed and indomitable, toiled the two men who were not yet dead. Their bodies were covered with fur and soft-tanned leather. Eyelashes and cheeks and lips were so coated with the crystals from their frozen breath that their faces were not discernible. This gave them the seeming of ghostly masques, undertakers in a spectral world at the funeral of some ghost. But under it all they were men, penetrating the land of desolation and mockery and silence, puny adventurers bent on colossal adventure, pitting themselves against the might of a world as remote and alien and pulseless as the abysses of space.
They travelled on without speech, saving their breath for the work of their bodies. On every side was the silence, pressing upon them with a tangible presence.
The pale light of the short sunless day was beginning to fade, when a faint far cry arose on the still air. It soared upward with a swift rush, till it reached its topmost note, where it persisted, palpitant and tense, and then slowly died away. It might have been a lost soul wailing, had it not been invested with a certain sad fierceness and hungry eagerness.
A second cry arose, piercing the silence with needlelike shrillness. Both men located the sound. It was to the rear, somewhere in the snow expanse they had just traversed. A third and answering cry arose, also to the rear and to the left of the second cry.
"They're after us, Bill," said the man at the front.
"Meat is scarce," answered his comrade. "I ain't seen a rabbit sign for days.”
At the fall of darkness they swung the dogs into a cluster of spruce trees on the edge of the waterway and made a camp. The coffin, at the side of the fire, served for seat and table. The wolf-dogs, clustered on the far side of the fire, snarled and bickered among themselves, but evinced no inclination to stray off into the darkness.
- - -
"Henry," said Bill, munching with deliberation the beans he was eating, "How many dogs 've we got, Henry?"
"Six."
"Well, Henry . . ." Bill stopped for a moment, in order that his words might gain greater significance. "As I was sayin', Henry, we've got six dogs. I took six fish out of the bag. I gave one fish to each dog, an', Henry, I was one fish short."
"You counted wrong."
"We've got six dogs," the other reiterated dispassionately. "took out six fish. One Ear didn't get no fish. I come back to the bag afterward an' got 'm his fish."
"We've only got six dogs," Henry said.
"Henry," Bill went on, "I won't say they was all dogs, but there was seven of 'm that got fish."
Henry stopped eating to glance across the fire and count the dogs.
"There's only six now," he said.
"I saw the other one run off across the snow," Bill announced with cool positiveness. "I saw seven.”
Bill opened his mouth to speak, but changed his mind. Instead, he pointed toward the wall of darkness that pressed about them from every side. There was no suggestion of form in the utter blackness; only could be seen a pair of eyes gleaming like live coals. Henry indicated with his head a second pair, and a third. A circle of the gleaming eyes had drawn about their camp.
The author uses personification in the first sentence of the passage. What effect does this personification have on the story?
To answer this question correctly, we first need to identify the personification the first sentence uses. The first sentence is "Dark spruce forest frowned on either side the frozen waterway." Personification is the act of making a non-human thing seem human, such as saying that the wind "howled." This is occurring in the passage's first sentence when the author says that the forest "frowned." We can ignore the answer choices "It tells us that the men can cross over the waterway because it is full of solid water" and "It tells us that the scene is likely taking place at nightfall" because these answers have to do with the words "frozen" and "dark," respectively, which are not personifying anything.
We now have to choose between the remaining three answers. The author's use of the word "frowned" doesn't convey that the trees are thinking and feeling characters in the story. This is a realistic story in which the trees aren't sentient characters. So, does the word "frowning" "\[tell\] us that the explorers think that the bark of the trees looks like sad faces"? Or does it "\[establish\] the environment as uninviting"? The author's use of "frowned" doesn't tell us anything about how the characters, Bill and Henry, see the trees. At this point in the story, Bill and Henry haven't even been introduced yet! Thus, the correct answer is that the author's use of personification in the first sentence "establishes the environment as uninviting." By saying that the trees "frowned" on either side of a frozen river, the author is doing two things: 1) conveying that the trees are slightly bent and 2) suggesting that the environment is not a pleasant one.
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What does the verbal irony in this text suggest?
My grandfather’s hands were as soft as sandpaper after years of hard work.
This sentence is using verbal irony, which is a figure of speech, to describe the grandfather’s hands. Figures of speech are words or phrases that use language in a nonliteral or unusual way. Authors use figures of speech in writing to make it more expressive. Verbal irony involves saying one thing but implying something very different. When being sarcastic people will often use verbal irony. The text is saying one thing but implying something very different. The sandpaper is not soft and neither is the grandfather’s hands.
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What does the underlined idiom in this text suggest?
Michael really burned bridges at his last job. He quit with no notice, was always late, and even stole snacks from the break room! I hope he didn’t ask for a letter of recommendation from Mr. Clark.
An idiom is a phrase or expression whose meaning can't be understood from the ordinary meanings of the words in it. There are no other clues in this sentence that directly relate to “burned bridges” so the author is using a figure of speech to get his or her meaning across. Based on the context of the sentence a reader can decipher what the idiom means. Michael did things characteristic of a bad employee and in the end, it is referenced that it wouldn’t be wise to ask for a recommendation letter. From these clues, a reader can determine that Michael did not do a great job of ending his relationship with the company.
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What is the meaning of the underlined allusion in the sentence below?
“You don’t have to be Albert Einstein to understand the directions”, said my sister Farrah as she snatched the box of brownie mix out of my hands.
An allusion is a brief mention of something or someone well known, often from mythology, history, or literature. An allusion lets readers reference ideas from an entire story in just a few words. Her sister Farrah is using the term “Albert Einstein” to insinuate that it is not difficult to understand the directions and is using it. Albert Einstein was a theoretical physicist and is well known for being incredibly intelligent. Farrah is alluding to the fact that his level of intelligence is not necessary for this task.
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Identify what is being personified in the text and what human trait or ability it’s being given.
Adapted from William Wordsworth’s I Wandered Lonely as a Cloud (1804)
"I wandered lonely as a cloud
that floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.”
Personification is a type of metaphor and a common literary tool. It is when you assign the qualities of a person to something that isn't human or that isn't even alive, such as nature or household items. In the poem, the daffodils are given the characteristics of fluttering and dancing like a human.
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How is the following situation similar to the story to which it is alluding?
The flowers at the botanical museum were like nothing I had ever seen, they looked like they were taken directly from the Garden of Eden.
The example is alluding to the biblical story about the Garden of Eden. It was described in the text as a perfect paradise with the most beautiful plants and flowers. The example is making a comparison between the current botanical museum and the Garden of Eden. An allusion is a brief mention of something or someone well known, often from mythology, history, or literature. An allusion lets readers reference ideas from an entire story in just a few words.
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What does the verbal irony in this text suggest?
Chancey enjoyed working with Mrs. Peters about as much as he enjoyed getting a root canal.
This sentence is using verbal irony, which is a figure of speech, to describe his level of enjoyment working with Mrs. Peters. Figures of speech are words or phrases that use language in a nonliteral or unusual way. Authors use figures of speech in writing to make it more expressive. Verbal irony involves saying one thing but implying something very different. When being sarcastic people will often use verbal irony.
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What does the underlined idiom in this text suggest?
Mr. Johnson’s class was a hive of activity when the principal walked into the room. There were kids huddled in groups all over talking, planning, and writing. Mr. Johnson went from group to group and listened as the students excitedly worked.
An idiom is a phrase or expression whose meaning can't be understood from the ordinary meanings of the words in it. The author is using a figure of speech to get his or her meaning across. Based on the context of the sentence a reader can decipher what the idiom means. The principal sees a teacher moving from group to group, kids are huddled, talking, planning, writing, and excitedly working. From these clues, a reader can determine that the class is a very busy place full of activity.
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What is the meaning of the underlined allusion in the sentence below?
I found a note my daughter wrote to her crush when I was cleaning up her room. “Jason, I will be your Juliet if you will be my Romeo. You are the kindest, sweetest, and cutest boy in the class.”
An allusion is a brief mention of something or someone well known, often from mythology, history, or literature. An allusion lets readers reference ideas from an entire story in just a few words. The daughter is using the term “I will be your Juliet if you will be my Romeo” to insinuate that she and her crush have a love story like Romeo and Juliet and want to be together. In the classic text, Romeo and Juliet are star-crossed lovers who can’t be together and yearn to be with each other. The daughter is writing the note to allude to a similar set of feelings.
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Identify what is being personified in the text and what human trait or ability it’s being given.
Adapted from John Milton’s Paradise Lost (1667)
"So saying, her rash hand in evil hour 780
Forth reaching to the fruit, she plucked, she eat!
Earth felt the wound, and Nature from her seat,
Sighing through all her works, gave signs of woe,
That all was lost.”
Personification is a type of metaphor and a common literary tool. It is when you assign the qualities of a person to something that isn't human or that isn't even alive, such as nature or household items. In the poem, the Earth and Nature are given the characteristics of feeling the pain of a wound, sighing, and having feelings of woe like a human.
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How is the story or situation similar to the story to which it is alluding? “If you aren’t sure of the answer just go ask Steven. He is basically like our own Google,” Andrea said.
The example is alluding to the search engine Google. Good can access almost unlimited information very quickly and help answer questions people may have. The example is making a comparison between Steven and his ability to answer questions like Google. An allusion is a brief mention of something or someone well known, often from mythology, history, or literature. An allusion lets readers reference ideas from an entire story in just a few words.
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Adapted from White Fang by Jack London (1906)
Dark spruce forest frowned on either side the frozen waterway. The trees had been stripped by a recent wind of their white covering of frost, and they seemed to lean toward each other, black and ominous, in the fading light. A vast silence reigned over the land. The land itself was a desolation, lifeless, without movement, so lone and cold that the spirit of it was not even that of sadness. There was a hint in it of laughter, but of a laughter more terrible than any sadness -- a laughter that was mirthless1 as the smile of the Sphinx, a laughter cold as the frost and partaking of the grimness of infallibility. It was the masterful and incommunicable wisdom of eternity laughing at the futility of life and the effort of life. It was the Wild, the savage, frozen-hearted Northland Wild.
But there was life, abroad in the land and defiant. Down the frozen waterway toiled a string of wolfish dogs. Their bristly fur was rimed with frost. Their breath froze in the air as it left their mouths, spouting forth in spumes of vapor that settled upon the hair of their bodies and formed into crystals of frost. Leather harness was on the dogs, and leather traces attached them to a sled which dragged along behind. On the sled, securely lashed, was a long and narrow oblong box. There were other things on the sled -- blankets, an axe, and a coffee-pot and frying-pan; but prominent, occupying most of the space, was the long and narrow oblong box.
In advance of the dogs, on wide snowshoes, toiled a man. At the rear of the sled toiled a second man. On the sled, in the box, lay a third man whose toil was over, -- a man whom the Wild had conquered and beaten down until he would never move nor struggle again.
But at front and rear, unawed and indomitable, toiled the two men who were not yet dead. Their bodies were covered with fur and soft-tanned leather. Eyelashes and cheeks and lips were so coated with the crystals from their frozen breath that their faces were not discernible. This gave them the seeming of ghostly masques, undertakers in a spectral world at the funeral of some ghost. But under it all they were men, penetrating the land of desolation and mockery and silence, puny adventurers bent on colossal adventure, pitting themselves against the might of a world as remote and alien and pulseless as the abysses of space.
They travelled on without speech, saving their breath for the work of their bodies. On every side was the silence, pressing upon them with a tangible presence.
The pale light of the short sunless day was beginning to fade, when a faint far cry arose on the still air. It soared upward with a swift rush, till it reached its topmost note, where it persisted, palpitant and tense, and then slowly died away. It might have been a lost soul wailing, had it not been invested with a certain sad fierceness and hungry eagerness.
A second cry arose, piercing the silence with needlelike shrillness. Both men located the sound. It was to the rear, somewhere in the snow expanse they had just traversed. A third and answering cry arose, also to the rear and to the left of the second cry.
"They're after us, Bill," said the man at the front.
"Meat is scarce," answered his comrade. "I ain't seen a rabbit sign for days.”
At the fall of darkness they swung the dogs into a cluster of spruce trees on the edge of the waterway and made a camp. The coffin, at the side of the fire, served for seat and table. The wolf-dogs, clustered on the far side of the fire, snarled and bickered among themselves, but evinced no inclination to stray off into the darkness.
- - -
"Henry," said Bill, munching with deliberation the beans he was eating, "How many dogs 've we got, Henry?"
"Six."
"Well, Henry . . ." Bill stopped for a moment, in order that his words might gain greater significance. "As I was sayin', Henry, we've got six dogs. I took six fish out of the bag. I gave one fish to each dog, an', Henry, I was one fish short."
"You counted wrong."
"We've got six dogs," the other reiterated dispassionately. "took out six fish. One Ear didn't get no fish. I come back to the bag afterward an' got 'm his fish."
"We've only got six dogs," Henry said.
"Henry," Bill went on, "I won't say they was all dogs, but there was seven of 'm that got fish."
Henry stopped eating to glance across the fire and count the dogs.
"There's only six now," he said.
"I saw the other one run off across the snow," Bill announced with cool positiveness. "I saw seven.”
Bill opened his mouth to speak, but changed his mind. Instead, he pointed toward the wall of darkness that pressed about them from every side. There was no suggestion of form in the utter blackness; only could be seen a pair of eyes gleaming like live coals. Henry indicated with his head a second pair, and a third. A circle of the gleaming eyes had drawn about their camp.
What aspect of the ancient story of Oedipus and the Sphinx does the author allude to in the first paragraph?
(Note: "mirth" means amusement or finding something to be humorous.)
The author alludes to the Sphinx in the first paragraph:
A vast silence reigned over the land. The land itself was a desolation, lifeless, without movement, so lone and cold that the spirit of it was not even that of sadness. There was a hint in it of laughter, but of a laughter more terrible than any sadness -- a laughter that was mirthless as the smile of the Sphinx, a laughter cold as the frost and partaking of the grimness of infallibility. It was the masterful and incommunicable wisdom of eternity laughing at the futility of life and the effort of life.
To understand this statement, we need to understand the word "mirthless." "Mirth" means amusement or the state of finding something to be humorous, as the footnote tells us. Thus, the author is saying that the environment has in it a hint of laughter that is not amused, like the smile of the Sphinx. How does this relate to the story the author is referencing? In the story of Oedipus and the Sphinx, the Sphinx is sitting outside the city of Thebes and asking travelers a riddle. If someone can't answer the riddle correctly, the Sphinx eats them. No one is able to solve the riddle and Thebes is suffering until Oedipus confronts the Sphinx, correctly solves its riddle, and frees the city. The smile the Sphinx would have would probably be "mirthless," then—we can imagine that it might smile at people who try to solve the riddle but fail. Those people it would eat! So, it's a very dangerous thing, just like the environment, and the author is making the allusion to emphasize how dangerous the environment is. The correct answer is "the danger it presents and its refusal to show mercy to anyone who can’t answer its riddle."
Regardless of whether you're familiar with the story to which the author is referring, you can answer this question correctly by narrowing down the answer choices. Let's try that approach. How else does the author describe this "laughter" that the environment seems to convey? It says that it is "a laughter cold as the frost and partaking of the grimness of infallibility." That's not very pleasant—it's a mean sort of laughter. The allusion to the Sphinx will likely parallel with this idea and be used to convey a similar sort of "meanness." The answer choice closest to this is the one that mentions how the Sphinx doesn't show mercy to anyone who tries to answer its riddle, and also mentions how it's very dangerous. The meaning of "mirthless" has nothing to do with the riddle's difficulty, the fact that the Sphinx is blockading a city, the idea that Oedipus eventually answers the riddle correctly, or the fact that the Sphinx is a mythical creature, so it must have to do with the danger the Sphinx presents.
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Adapted from White Fang by Jack London (1906)
Dark spruce forest frowned on either side the frozen waterway. The trees had been stripped by a recent wind of their white covering of frost, and they seemed to lean toward each other, black and ominous, in the fading light. A vast silence reigned over the land. The land itself was a desolation, lifeless, without movement, so lone and cold that the spirit of it was not even that of sadness. There was a hint in it of laughter, but of a laughter more terrible than any sadness -- a laughter that was mirthless as the smile of the Sphinx, a laughter cold as the frost and partaking of the grimness of infallibility. It was the masterful and incommunicable wisdom of eternity laughing at the futility of life and the effort of life. It was the Wild, the savage, frozen-hearted Northland Wild.
But there was life, abroad in the land and defiant. Down the frozen waterway toiled a string of wolfish dogs. Their bristly fur was rimed with frost. Their breath froze in the air as it left their mouths, spouting forth in spumes of vapor that settled upon the hair of their bodies and formed into crystals of frost. Leather harness was on the dogs, and leather traces attached them to a sled which dragged along behind. On the sled, securely lashed, was a long and narrow oblong box. There were other things on the sled -- blankets, an axe, and a coffee-pot and frying-pan; but prominent, occupying most of the space, was the long and narrow oblong box.
In advance of the dogs, on wide snowshoes, toiled a man. At the rear of the sled toiled a second man. On the sled, in the box, lay a third man whose toil was over, -- a man whom the Wild had conquered and beaten down until he would never move nor struggle again.
But at front and rear, unawed and indomitable, toiled the two men who were not yet dead. Their bodies were covered with fur and soft-tanned leather. Eyelashes and cheeks and lips were so coated with the crystals from their frozen breath that their faces were not discernible. This gave them the seeming of ghostly masques, undertakers in a spectral world at the funeral of some ghost. But under it all they were men, penetrating the land of desolation and mockery and silence, puny adventurers bent on colossal adventure, pitting themselves against the might of a world as remote and alien and pulseless as the abysses of space.
They travelled on without speech, saving their breath for the work of their bodies. On every side was the silence, pressing upon them with a tangible presence.
The pale light of the short sunless day was beginning to fade, when a faint far cry arose on the still air. It soared upward with a swift rush, till it reached its topmost note, where it persisted, palpitant and tense, and then slowly died away. It might have been a lost soul wailing, had it not been invested with a certain sad fierceness and hungry eagerness.
A second cry arose, piercing the silence with needlelike shrillness. Both men located the sound. It was to the rear, somewhere in the snow expanse they had just traversed. A third and answering cry arose, also to the rear and to the left of the second cry.
"They're after us, Bill," said the man at the front.
"Meat is scarce," answered his comrade. "I ain't seen a rabbit sign for days.”
At the fall of darkness they swung the dogs into a cluster of spruce trees on the edge of the waterway and made a camp. The coffin, at the side of the fire, served for seat and table. The wolf-dogs, clustered on the far side of the fire, snarled and bickered among themselves, but evinced no inclination to stray off into the darkness.
- - -
"Henry," said Bill, munching with deliberation the beans he was eating, "How many dogs 've we got, Henry?"
"Six."
"Well, Henry . . ." Bill stopped for a moment, in order that his words might gain greater significance. "As I was sayin', Henry, we've got six dogs. I took six fish out of the bag. I gave one fish to each dog, an', Henry, I was one fish short."
"You counted wrong."
"We've got six dogs," the other reiterated dispassionately. "took out six fish. One Ear didn't get no fish. I come back to the bag afterward an' got 'm his fish."
"We've only got six dogs," Henry said.
"Henry," Bill went on, "I won't say they was all dogs, but there was seven of 'm that got fish."
Henry stopped eating to glance across the fire and count the dogs.
"There's only six now," he said.
"I saw the other one run off across the snow," Bill announced with cool positiveness. "I saw seven.”
Bill opened his mouth to speak, but changed his mind. Instead, he pointed toward the wall of darkness that pressed about them from every side. There was no suggestion of form in the utter blackness; only could be seen a pair of eyes gleaming like live coals. Henry indicated with his head a second pair, and a third. A circle of the gleaming eyes had drawn about their camp.
The author uses personification in the first sentence of the passage. What effect does this personification have on the story?
To answer this question correctly, we first need to identify the personification the first sentence uses. The first sentence is "Dark spruce forest frowned on either side the frozen waterway." Personification is the act of making a non-human thing seem human, such as saying that the wind "howled." This is occurring in the passage's first sentence when the author says that the forest "frowned." We can ignore the answer choices "It tells us that the men can cross over the waterway because it is full of solid water" and "It tells us that the scene is likely taking place at nightfall" because these answers have to do with the words "frozen" and "dark," respectively, which are not personifying anything.
We now have to choose between the remaining three answers. The author's use of the word "frowned" doesn't convey that the trees are thinking and feeling characters in the story. This is a realistic story in which the trees aren't sentient characters. So, does the word "frowning" "\[tell\] us that the explorers think that the bark of the trees looks like sad faces"? Or does it "\[establish\] the environment as uninviting"? The author's use of "frowned" doesn't tell us anything about how the characters, Bill and Henry, see the trees. At this point in the story, Bill and Henry haven't even been introduced yet! Thus, the correct answer is that the author's use of personification in the first sentence "establishes the environment as uninviting." By saying that the trees "frowned" on either side of a frozen river, the author is doing two things: 1) conveying that the trees are slightly bent and 2) suggesting that the environment is not a pleasant one.
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What does the verbal irony in this text suggest?
My grandfather’s hands were as soft as sandpaper after years of hard work.
This sentence is using verbal irony, which is a figure of speech, to describe the grandfather’s hands. Figures of speech are words or phrases that use language in a nonliteral or unusual way. Authors use figures of speech in writing to make it more expressive. Verbal irony involves saying one thing but implying something very different. When being sarcastic people will often use verbal irony. The text is saying one thing but implying something very different. The sandpaper is not soft and neither is the grandfather’s hands.
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What does the underlined idiom in this text suggest?
Michael really burned bridges at his last job. He quit with no notice, was always late, and even stole snacks from the break room! I hope he didn’t ask for a letter of recommendation from Mr. Clark.
An idiom is a phrase or expression whose meaning can't be understood from the ordinary meanings of the words in it. There are no other clues in this sentence that directly relate to “burned bridges” so the author is using a figure of speech to get his or her meaning across. Based on the context of the sentence a reader can decipher what the idiom means. Michael did things characteristic of a bad employee and in the end, it is referenced that it wouldn’t be wise to ask for a recommendation letter. From these clues, a reader can determine that Michael did not do a great job of ending his relationship with the company.
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What is the meaning of the underlined allusion in the sentence below?
“You don’t have to be Albert Einstein to understand the directions”, said my sister Farrah as she snatched the box of brownie mix out of my hands.
An allusion is a brief mention of something or someone well known, often from mythology, history, or literature. An allusion lets readers reference ideas from an entire story in just a few words. Her sister Farrah is using the term “Albert Einstein” to insinuate that it is not difficult to understand the directions and is using it. Albert Einstein was a theoretical physicist and is well known for being incredibly intelligent. Farrah is alluding to the fact that his level of intelligence is not necessary for this task.
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Identify what is being personified in the text and what human trait or ability it’s being given.
Adapted from William Wordsworth’s I Wandered Lonely as a Cloud (1804)
"I wandered lonely as a cloud
that floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.”
Personification is a type of metaphor and a common literary tool. It is when you assign the qualities of a person to something that isn't human or that isn't even alive, such as nature or household items. In the poem, the daffodils are given the characteristics of fluttering and dancing like a human.
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How is the following situation similar to the story to which it is alluding?
The flowers at the botanical museum were like nothing I had ever seen, they looked like they were taken directly from the Garden of Eden.
The example is alluding to the biblical story about the Garden of Eden. It was described in the text as a perfect paradise with the most beautiful plants and flowers. The example is making a comparison between the current botanical museum and the Garden of Eden. An allusion is a brief mention of something or someone well known, often from mythology, history, or literature. An allusion lets readers reference ideas from an entire story in just a few words.
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What does the verbal irony in this text suggest?
Chancey enjoyed working with Mrs. Peters about as much as he enjoyed getting a root canal.
This sentence is using verbal irony, which is a figure of speech, to describe his level of enjoyment working with Mrs. Peters. Figures of speech are words or phrases that use language in a nonliteral or unusual way. Authors use figures of speech in writing to make it more expressive. Verbal irony involves saying one thing but implying something very different. When being sarcastic people will often use verbal irony.
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