What Did the Speaker Learn from Alfonso?
Alfonso I am not the first poet born to my family. We have painters and singers, actors and carpenters.
I inherited my trade from my zio, Alfonso. Zio maybe was the tallest man in the village, he certainly was the widest. He lost his voice to cigarettes before I was born, but still he roared with his hands, his eyes, with his brow, and his deafening
smile.
He worked the sea with my nonno fishing in silence among the grottoes so my father could learn to write and read and not speak like the guaglione, filled with curses and empty pockets.
He would watch me write with wonder, I could hear him on the couch, he looked at the lines over my shoulder, tried to teach himself to read late in the soft Adriatic darkness. Wine-stained pages gave him away.
But I learned to write from Zio He didnt need words, still he taught me the language of silence, the way the sun can describe a shadow, a gesture can paint a moment, a scent could fill an entire village with words and color and sound, a
perfect little grape tomato can be the most beautiful thing in the world, seen through the right eyes.
Marco A. Annunziata (2002)
Reprinted by permission of the author.
In lines 11A. was a very loud person.
B. was always angry.
C. was like a lion.
D. was always yelling.
E. was very expressive with his body.
How Does the Speaker Feel about War?
War Is Kind Do not weep, maiden, for war is kind. Because your lover threw wild hands toward the sky And the affrighted steed ran on alone, Do not weep. War is kind.
Hoarse, booming drums of the regiment Little souls who thirst for fight, These men were born to drill and die The unexplained glory flies above them Great is the battle-god, great, and his kingdom
A field where a thousand corpses lie. Do not weep, babe, for war is kind. Because your father tumbled in the yellow trenches, Raged at his breast, gulped and died, Do not weep. War is kind. Swift, blazing flag of the regiment Eagle with crest
of red and gold, These men were born to drill and die Point for them the virtue of slaughter Make plain to them the excellence of killing And a field where a thousand corpses lie.
Mother whose heart hung humble as a button On the bright splendid shroud of your son, Do not weep. War is kind.
Stephen Crane, 1899
From what you know about the speaker in the poem, what do you think he would do if his country went to war?
A. join the military right awayWhat Has Mrs. Mallard Realized?
[Mrs. Mallard has locked herself in a room and is crying.]
She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.
She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of
reflection, but rather indicated a suspension of intelligent thought.
There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the
color that filled the air.
Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will as powerless as her two white slender hands would have been.
When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed
keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body. She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the
suggestion as trivial.
She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years
to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome. There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers
in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of
illumination.
-
Kate Chopin, from "The Story of an Hour" (1894)
The last sentence of the excerpt states, "A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination."What does Mrs.Mallard believe is a crime?
A. insisting that someone do what you want instead of what they wantWhat Has Happened to Gregor?
As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect. He was lying on his hard, as it were armor-plated, back and when he lifted his head a little he could see his domelike
brown belly divided into stiff arched segments on top of which the bed quilt could hardly keep in position and was about to slide off completely. His numerous legs, which were pitifully thin compared to the rest of his bulk, waved helplessly
before his eyes.
What has happened to me? he thought. It was no dream. His room, a regular human bedroom, only rather too small, lay quiet between the four familiar walls.
Above the table on which a collection of cloth samples was unpacked and spread out Samsa was a commercial traveler hung the picture which he had recently cut out of an illustrated magazine and put into a pretty gilt frame. It showed a
lady, with a fur cap on and a fur stole, sitting upright and holding out to the spectator a huge fur muff into which the whole of her forearm had vanished!
. . . .
He slid down again into his former position. This getting up early, he thought, makes one quite stupid. A man needs his sleep. Other commercials live like harem women. For instance, when I come back to the hotel of a morning to write up the
orders Ive got, these others are only sitting down to breakfast. Let me just try that with my chief; Id be sacked on the spot. Anyhow, that might be quite a good thing for me, who can tell? If I didnt have to hold my hand because of my parents Id
have given notice long ago, Id have gone to the chief and told him exactly what I think of him. That would knock him endways from his desk! Its a queer way of doing, too, this sitting on high at a desk and talking down to employees, especially
when they have to come quite near because the chief is hard of hearing. Well, theres still hope; once Ive saved enough money to pay back my parents debts to him that should take another five or six years Ill do it without fail. Ill cut myself
completely loose then. For the moment, though, Id better get up, since my train goes at five.
Franz Kafka, from The Metamorphosis (1912)
Why must Gregor keep his current job for several more years?
A. His parents owe his boss money.What Has Happened to Gregor?
As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect. He was lying on his hard, as it were armor-plated, back and when he lifted his head a little he could see his domelike
brown belly divided into stiff arched segments on top of which the bed quilt could hardly keep in position and was about to slide off completely. His numerous legs, which were pitifully thin compared to the rest of his bulk, waved helplessly
before his eyes.
What has happened to me? he thought. It was no dream. His room, a regular human bedroom, only rather too small, lay quiet between the four familiar walls.
Above the table on which a collection of cloth samples was unpacked and spread out Samsa was a commercial traveler hung the picture which he had recently cut out of an illustrated magazine and put into a pretty gilt frame. It showed a
lady, with a fur cap on and a fur stole, sitting upright and holding out to the spectator a huge fur muff into which the whole of her forearm had vanished!
. . . .
He slid down again into his former position. This getting up early, he thought, makes one quite stupid. A man needs his sleep. Other commercials live like harem women. For instance, when I come back to the hotel of a morning to write up the
orders Ive got, these others are only sitting down to breakfast. Let me just try that with my chief; Id be sacked on the spot. Anyhow, that might be quite a good thing for me, who can tell? If I didnt have to hold my hand because of my parents Id
have given notice long ago, Id have gone to the chief and told him exactly what I think of him. That would knock him endways from his desk! Its a queer way of doing, too, this sitting on high at a desk and talking down to employees, especially
when they have to come quite near because the chief is hard of hearing. Well, theres still hope; once Ive saved enough money to pay back my parents debts to him that should take another five or six years Ill do it without fail. Ill cut myself
completely loose then. For the moment, though, Id better get up, since my train goes at five.
Franz Kafka, from The Metamorphosis (1912)
Based on the passage, which is the most logical conclusion to draw about Gregors personality?
A. Gregor is lazy and stupid.What Is the Authors Father Like?
It was an impressive place: old, solidly built, in the Tudor style, with leaded windows, a slate roof, and rooms of royal proportions. Buying it had been a big step for my parents, a sign of growing wealth. This was the best neighborhood in town,
and although it was not a pleasant place to live (especially for children), its prestige outweighed its deadliness. Given the fact that he wound up spending the rest of his life in that house, it is ironic that my father at first resisted moving there.
He complained about the price (a constant theme), and when at last he relented, it was with grudging bad humor. Even so, he paid in cash. All in one go. No mortgage, no monthly payments. It was 1959, and business was going well for him.
Always a man of habit, he would leave for work early in the morning, work hard all day, and then, when he came home (on those days he did not work late), take a short nap before dinner. Sometime during our first week in the new house,
before we had properly moved in, he made a curious kind of mistake. Instead of driving home to the new house after work, he went directly to the old one, as he had done for years, parked his car in the driveway, walked into the house
through the back door, climbed the stairs, entered the bedroom, lay down on the bed, and went to sleep. He slept for about an hour.
Needless to say, when the new mistress of the house returned to find a strange man sleeping in her bed, she was a little surprised. But unlike Goldilocks, my father did not jump up and run away. The confusion was eventually settled, and
everyone had a good laugh. Even today, it still makes me laugh. And yet, for all that, I cannot help regarding it as a pathetic story. It is one thing for a man to drive to his old house by mistake, but it is quite another, I think, for him not to notice
that anything has changed inside it.
Paul Auster, from The Invention of Solitude (1982)
The passage suggests that the authors father
A. did not like change.Whats Wrong with Biff and Happy?
[Biff is talking with his brother, Happy. They are together with their parents in the home where they grew up.]
BIFF: [with rising agitation] Hap, Ive had twenty or thirty different kinds of jobs since I left home before the war, and it always turns out the same. I just realized it lately. In Nebraska, when I herded cattle, and the Dakotas, and Arizona, and
now in Texas. Its why I came home now, I guess, because I realized it.
This farm I work on, its spring there now, see? And theyve got about fifteen new colts. Theres nothing more inspiring orbeautiful than the sight of a mare and a new colt. And its cool there now, see? Texas is cool now, and its spring. And
whenever spring comes to where I am, I suddenly get the feeling, my God, Im not gettin anywhere! What the hell am I doing, playing around with horses, twenty-eight dollars a week! Im thirty-four years old, I oughta be makinmy future.
Thats when I come running home. And now, I get here, and I dont know what to do with myself. [After a pause] Ive always made a point of not wasting my life, and every time I come back here I know that all Ive done is to waste my life.
HAPPY: Youre a poet, you know that, Biff?
Youre a youre an idealist!
BIFF: No, Im mixed up very bad. Maybe I oughta get married.Maybe I oughta get stuck into something. Maybe thats my trouble. Im like a boy. Im not married,
Im not in business, I just Im like a boy. Are you content, Hap? Youre a success, arent you? Are you content?
HAPPY: Hell, no!
BIFF:Why? Youre making money, arent you?
HAPPY: [moving about with energy, expressiveness] All I can do now is wait for the merchandise manager to die. And suppose I get to be merchandise manager?
Hes a good friend of mine, and he just built a terrific estate on Long Island. And he lived there about two months and sold it, and now hes building another one.
He cant enjoy it once its finished. And I know thats just what I would do. I dont know what the hell Im workin for. Sometimes I sit in my apartment all alone.
And I think of the rent Im paying. And its crazy. But then, its what I always wanted. My own apartment, a car, and plenty of women. And still, goddammit, Im lonely.
Arthur Miller, from Death of a Salesman (1949)
Why isnt the merchandise manager happy?
A. He doesn't have enough money.Why Is the Man Screaming?
Edvard Munch's 1893 painting "The Scream" is a powerful work of art that has true aesthetic value. In its raw depiction of the unavoidable human emotions of alienation, anxiety and fear, "The Scream" invites meaningful introspection as the
viewer internalizes its message of the vulnerability of the human psyche.
"The Scream" is a very dynamic and yet frightening painting. The blood-red sky and eerie water/air seem to be moving and twirling, even enveloping the screaming mans mind as he stands on a bridge completely disregarded by passers-by
who do not share in his horror. Viewers of the painting cannot help but ask:
Why is the man screaming? And why is he alone in is scream? What is he afraid of? Or, what has he realized or seen that is making him scream?
Why arent the others as affected as he? The threat must be internal, yet the brushstrokes, colors and perspective seem to indicate that the horror is also bound to something in nature, something outside of the man. In any case, the agony
and alienation are inescapable. Something horrible has happened or been realized by the man who cannot contain his horror, but has not affected the others on the bridge.
That the people in the background are calm and do not share this horror conveys a truth regarding the ownership of our own feelings. We are often alone in our feelings, as can be especially noticed when we are in pain. The horror is the
mans own; he must carry it himself. In this expressionist piece, the black, red, and orange colors are both bold and dark, illuminating and haunting at the same time. Remarkably, the light from the blood-reds and vibrant oranges in the distant
sky seem to be somewhat detached from the figure in the forefront, failing to reach his persona, suggesting that there is little to illuminate his (and the viewers) fears.
The mans face is nondescript; in fact, it almost looks more like a skull than a living mans face, hollow with two simple dots to indicate the nostrils, no hair, no wrinkles of the skin. This could be any man or woman, left to deal with his or her
own horrors.
Which of the following best describes what is depicted in the painting?
A. a man screaming as he falls through the skyWhat Is the New Dress Code Policy?
MEMORANDUM
TO:All Employees FROM:Helen Suskind, Director,
Human Resources Department
DATE:March 22, 2005 RE: Implementation of New Dress Code
A new dress code for all employees will take effect on September 1. All employees will be required to wear professional business attire while in the office. In this context, professional business attire excludes T-shirts, sleeveless shirts, shorts,
jeans, athletic attire, miniskirts, sandals, flip-flops, and sneakers. The attached sheet provides a complete list of attire that is inappropriate for the office. Please be sure to review this list carefully.
Violations of the new dress code will be handled as follows:
If you have any questions about the parameters of the dress code, please contact Martin Lamb in Human Resources immediately to schedule an appointment.
It is important that all employees understand the seriousness of this policy. Management based its decision to implement this code upon evidence that the lack of a dress code leads to a decrease in productivity. Our new dress code will help
maintain the reputation and integrity of our company by keeping us aware of the need for professionalism. Thank you for your cooperation.
An employee who violates the dress code for the third time will
A. receive a verbal warning.Whats Wrong with Commercial Television?
Kids who watch much commercial television ought to develop into whizzes at the dialect; you have to keep so much in your mind at once because a series of artificially short attention spans has been created. But this in itself means that the
experience of watching the commercial channels is a more informal one, curiously more homely than watching BBC [British Broadcasting Corporation].
This is because the commercial breaks are constant reminders that the medium itself is artificial, isn't, in fact, "real," even if the gesticulating heads, unlike the giants of the movie screen, are life-size. There is a kind of built-in alienation effect.
Everything you see is false, as Tristan Tzara gnomically opined. And the young lady in the St. Bruno tobacco ads who currently concludes her spiel by stating categorically: "And if you believe that, you’ll believe anything," is saying no more
than the truth. The long-term effect of habitually watching commercial television is probably an erosion of trust in the television medium itself.
Since joy is the message of all commercials, it is as well they breed skepticism. Every story has a happy ending, gratification is guaranteed by the conventions of the commercial form, which contributes no end to the pervasive unreality of it
all. Indeed, it is the chronic bliss of everybody in the commercials that creates their final divorce from effective life as we know it.
Grumpy mum, frowning dad, are soon all smiles again after the ingestion of some pill or potion; minimal concessions are made to mild frustration (as they are, occasionally, to lust), but none at all to despair or consummation. In fact, if the form
is reminiscent of the limerick and the presentation of the music-hall, the overall mood in its absolute and unruffled decorum is that of the uplift fables in the Sunday school picture books of my childhood.
Angela Carter, from Shaking a Leg (1997)
According to the author, what is the main thing that makes commercials unrealistic?
A. Everyone in commercials always ends up happy.Nowadays, the certification exams become more and more important and required by more and more enterprises when applying for a job. But how to prepare for the exam effectively? How to prepare for the exam in a short time with less efforts? How to get a ideal result and how to find the most reliable resources? Here on Vcedump.com, you will find all the answers. Vcedump.com provide not only Test Prep exam questions, answers and explanations but also complete assistance on your exam preparation and certification application. If you are confused on your GED-SECTION-4 exam preparations and Test Prep certification application, do not hesitate to visit our Vcedump.com to find your solutions here.