all final prep extracts + answers.pdf

8/14/2019 all final prep extracts + answers.pdf

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spared me by the rats. As I put a portion of it within my lips, there rushed to my

mind a half formed thought of joy -- of hope. Yet what business had I with hope?

It was, as I say, a half formed thought -- man has many such which are never

completed. I felt that it was of joy -- of hope; but felt also that it had perished in its

formation. In vain I struggled to perfect -- to regain it. Long suffering had nearly

annihilated all my ordinary powers of mind. I was an imbecile -- an idiot.

The vibration of the pendulum was at right angles to my length. I saw that the

crescent was designed to cross the region of the heart. It would fray the serge of

my robe -- it would return and repeat its operations -- again -- and again.

Notwithstanding terrifically wide sweep (some thirty feet or more) and the hissing

vigor of its descent, sufficient to sunder these very walls of iron, still the fraying ofmy robe would be all that, for several minutes, it would accomplish. And at this

thought I paused. I dared not go farther than this reflection. I dwelt upon it with a

pertinacity of attention -- as if, in so dwelling, I could arrest here the descent of the

steel. I forced myself to ponder upon the sound of the crescent as it should pass

across the garment -- upon the peculiar thrilling sensation which the friction ofcloth produces on the nerves. I pondered upon all this frivolity until my teeth wereon edge.

Down -- steadily down it crept. I took a frenzied pleasure in contrasting its

downward with its lateral velocity. To the right -- to the left -- far and wide -- with

the shriek of a damned spirit; to my heart with the stealthy pace of the tiger! I

alternately laughed and howled as the one or the other idea grew predominant.

Down -- certainly, relentlessly down! It vibrated within three inches of my bosom!

I struggled violently, furiously, to free my left arm. This was free only from the

elbow to the hand. I could reach the latter, from the platter beside me, to my mouth,

with great effort, but no farther. Could I have broken the fastenings above the

elbow, I would have seized and attempted to arrest the pendulum. I might as well

have attempted to arrest an avalanche!

Down -- still unceasingly -- still inevitably down! I gasped and struggled at each

vibration. I shrunk convulsively at its every sweep. My eyes followed its outward

or upward whirls with the eagerness of the most unmeaning despair; they closed

themselves spasmodically at the descent, although death would have been a relief,

oh! how unspeakable!

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Comment [A89]: Repetition

Comment [A90]: Rhetorical Question

Comment [A91]: Expletive: showing notimportant meaning, but using commas


Comment [A93]: Antithesis

Comment [A94]: anthropomorphism

Comment [j95]: amplification

Comment [j96]: denotation

Comment [A97]: Imagery: felt feel, touch, sense.


Comment [j99]: Trans wds

Comment [A100]: Onomatopoeia

Comment [A101]: anthro

Comment [A102]: Conson ance: d, s, t, s

Comment [j103]: Consonance: s

Comment [j104]: hyperbaton

Comment [A105]: Asyndeton

Comment [A106]: Expletive

Comment [j107]: connotation

Comment [A108]: Diction: crescent pendulum (found th e different words)

Comment [j109]: contradiction

Comment [A110]: Imagery: senses

Comment [A111]: Ambiguous: what sensation?

Comment [j112]: hyperbole

Comment [A113]: Synecdoche: teeth represents

the body

Comment [A114]: Anaphora with the otherDowns

Comment [A115]: Suspense

Comment [j116]: oxymoron

Comment [j117]: anaphora

Comment [j118]: personification

Comment [A119]: Analogy


Comment [j121]: amplification

Comment [j122]: consonance: F sounds

Comment [j123]: internal rhym

Comment [A124]: Hyperbole

Comment [A125]: Analogy

Comment [A126]: Consonance: the W

Comment [A127]: Contradiction

Comment [A128]: Diction

Comment [A129]: Irony: Just let the characterdie rather than torchering

Formal Language


4/10

PYGMALIONGeorge Bernard Shaw (published 1912)

FLOWER GIRL. Let him say what he likes. I don't want to have no truck with him.

BYSTANDER. You take us for dirt under your feet, don't you? Catch you taking

liberties with a gentleman!SARCASTIC BYSTANDER. Yes: tell HIM where he come from if you want to

go fortune-telling.

NOTE TAKER. Cheltenham, Harrow, Cambridge, and India.

GENTLEMAN. Quite right. [Great laughter. Reaction in the note taker's favor.

Exclamations of He knows all about it. Told him proper. Hear him tell the toff

where he come from? etc.]. May I ask, s ir, do you do this for your living at a musichall?

NOTE TAKER. I've thought of that. Perhaps I shall some day. The rain has

stopped; and the persons on the outside of the crowd begin to drop off.

FLOWER GIRL. He's no gentleman, he ain't, to interfere with a poor girl.

DAUGHTER. What on earth is Freddy doing? I shall get pneumonia if I stay inthis draught any longer.

NOTE TAKER. [to himself, hastily making a note of her pronunciation of"monia"] Earlscourt.DAUGHTER [violently] Will you please keep your impertinent remarks to

yourself?

NOTE TAKER. Did I say that out loud? I didn't mean to. I beg your pardon. Your

mother's Epsom, unmistakeably.

MOTHER [advancing between her daughter and the note taker] How very curious!

I was brought up in Largelady Park, near Epsom.

NOTE TAKER [uproariously amused] Ha! ha! What a devil of a name! Excuse me.[To the daughter] You want a cab, do you?

DAUGHTER. Don't dare speak to me.

MOTHER. Oh, please, please C lara. [Her daughter repudiates her with an angryshrug and retires haughtily.] We should be so grateful to you, sir, if you found us a

cab. [The note taker produces a whistle]. Oh, thank you. [She joins her daughter].The note taker blows a piercing blast.

SARCASTIC BYSTANDER. There! I knowed he was aplain-clothes copper.

BYSTANDER. That ain't a police whistle: that's a sporting whistle.

FLOWER GIRL [still preoccupied with her wounded feelings] He's no right to

take away my character. My character is the same to me as any lady's.

NOTE TAKER. I don't know whether you've noticed it; but the rain stopped abouttwo minutes ago.

BYSTANDER. So it has. Why didn't you say so before? and us losing our time

listening to your silliness. [He walks off towards the Strand].

SARCASTIC BYSTANDER. I can tell where you come from. You come from

Anwell. Go back there.

NOTE TAKER [helpfully]Hanwell.

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Comment [A130]: Colloquial (a slang):problems o r business

Comment [A131]: Connotation: Low Class

Comment [j132]: connotation

Comment [j133]: sarcasm

Comment [A134]: Expletive: using commas

Comment [A135]: Connotation

Comment [j136]: colloquial

Comment [j137R136]:

Comment [A138]: Dennotation (word choice):

rain

Connotation: drinking alcohol


Comment [A140]: Invective: because it isviolently

Comment [A141]: Rhetorical Question &Sarcasm


Comment [A143]: Sarcasm

Comment [A144]: Hyperbacon

Comment [j145]: repetition

Comment [A146]: Understatement: waiting for ataxi


Comment [A148]: Disguise as a normal person:Cultural Context.

Comment [A149]: Cultural Context

Comment [A150]: Anadiplosis: last word in asentence and th e first word i n the sentence

respectively

Comment [A151]: Sarcasm


5/10


LIZA. I sold flowers. I didn't sell myself. Now you've made a lady of me I'm notfit to sell anything else. I wish you'd left me where you found me.

HIGGINS [slinging the core of the apple dec isively into the grate] Tosh, Eliza.

Don't you insult human relations by dragging all this cant aboutbuying and selling

into it. You needn't marry the fellow if you don't like him.

LIZA. What else am I to do?

HIGGINS. Oh, lots of things. What about your old idea of a florist's shop?

Pickering could set you up in one: he's lots of money. [Chuckling] He'll have topay for all those togs you have been wearing today; and that, with the hire of the

H, will make a big hole in two hundred pounds. Why, six months ago you would

have thought it the millennium to have a flower shop of your own. Come! you'll beall right. I must clear off to bed: I'm devilish sleepy. By the way, I came down for

something: I forget what it was.

LIZA. Your slippers.

HIGGINS. Oh yes, of course. You shied them at me.

LIZA. Before you go, sir--

HIGGINS [dropping the slippers in his surprise at her calling him sir] Eh?

LIZA. Do my clothes belong to me or to Colonel Pickering?

HIGGINS [coming back into the room as if her question were the very climax of

unreason] What the devil use would they be to Pickering?

LIZA. He might want them for the next girl you pick up to experiment on.

HIGGINS [shocked and hurt] Is THAT the way you feel towards us?

LIZA. I don't want to hear anything more about that. All I want to know is whether

anything belongs to me. My own clothes were burnt.

HIGGINS. But what does it matter? Why need you start bothering about that in the

middle of the night?

LIZA. I want to know what I may take away with me. I don't want to be accused ofstealing.

HIGGINS [now deeply wounded] Stealing! You shouldn't have said that, Eliza.

That shows a want of feeling.

LIZA. I'm sorry. I'm only a common ignorant girl; and in my station I have to be

careful. There can't be any feelings between the like of you and the like of me.

Please will you tell me what belongs to me and what doesn't?

HIGGINS [very sulky] You may take the whole damned houseful if you like.Except the jewels. They're hired. Will that satisfy you?

LIZA [drinking in his emotion like nectar, and nagging him to provoke a further

supply] Stop, please. [She takes off her jewels]. Will you take these to your room

and keep them safe? I don't want to run the risk of their being missing.

HIGGINS. Hand them over. [She puts them into his hands]. If these belonged to

me instead of to the jeweler, I'd ram them down your ungrateful throat.

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Comment [A152]: Setting: In the middle of thenight @ Higgins House take all the equipment

from the house.

Comment [A153]: Litotes: begins with negative

word (didnt)


Comment [j155]: colloquial lang

Comment [A156]: Antithesis: comparisoncontrast meaning

Comment [A157]: Litotes: begins with negativeexpression or words (neednt)

Comment [j158]: Connotation, characterization

Comment [A159]: Colloquial: togs


Comment [A161]: Connotation : cost a lot of/ abunch of deposit

Comment [j162]: exclamation

Comment [A163]: Hyperbole: the millennium

Comment [j164]: Colloquial lang

Comment [A165]: Diction: extremely ormoderately

Comment [A166]: Sarcasm: calling a sir. Heconfused

Comment [j167]: Zeugma

Comment [j168]: Colloquial lang

Comment [A169]: Ambiguous: double

connotation can be prostitut e or biologicalexperiment

Comment [j170]: Invective/sarcasm

Comment [j171]: setting

Comment [j172]: internal rhyme

Comment [j173]: consonance: w sounds



Comment [A176]: Satire & Sarcasm: She nowsshe is being that.

Comment [A177]: Ambigious: confusion what isthe real feeling

Comment [A178]: Synecdoche

Comment [A179]: Invective


Comment [A181]: She replies but doesnt

answer it : rhetorical question

Comment [A182]: Simile: using the word like

Comment [j183]: Hyperbaton, personification


Comment [A185]: Anthrophormophism:

ungrateful for describing feeling. Throat would be a

SYNECDOCHE


6/10


LIZA [to Pickering, taking no apparent notice of Higgins] Will you d rop mealtogether now that the experiment is over, Colonel Pickering?

PICKERING. Oh don't. You mustn't think of it as an experiment.

LIZA. Oh, I'm only a squashed cabbage leaf.

PICKERING [impulsively] No.

LIZA. -but I owe so much to you that I should be very unhappy if you forgot me

PICKERING. It's very kind of you to say so, Miss Doolittle.

LIZA. It's not because you paid for my dresses. I know you are generous to

everybody with money. But it was from you that I learnt really nice manners;

and that is what makes one a lady, isn't it? You see it was so very difficult for

me with the example of Professor Higgins always before me. I was brought up

to be just like him, unable to control myself, and using bad language on theslightest provocation. And I should never have known that ladies and gentlemen

didn't behave like that if you hadn't been there.

HIGGINS. Well!!

PICKERING. Oh, that's only his way, you know. He doesn't mean it.

LIZA. Oh, I didn't mean it either, when I was a flower girl. It was only my way.

But you see I did it; and that's what makes the difference after all.

PICKERING.No doubt. Still, he taught you to speak and I couldn't have done that.

LIZA [trivially] Of course: that is his profession.

HIGGINS. Damnation!

LIZA. It was just like learning to dance in the fashionable way: there was

nothing more than that in it. But do you know what began my real education?

PICKERING. What?

LIZA. Your calling me Miss Doolittle that day when I first came to Wimpole

Street. That was the beginning of self-respect for me. And there were a hundred

little things you never noticed, because they came naturally to you. Things

about standing up and taking off your hat and opening doors--

PICKERING. Oh, that was nothing.

LIZA. Yes: things that showed you thought and felt about me as if I were

something better than a scullery-maid; though of course I know you would have

been just the same to a scullery-maid if she had been let in the drawing-room.

PICKERING. You mustn't mind that.

LIZA. I know. I am not blaming him. It is his way, isn't it? But it made such adifference to me that you didn't do it. You see, really and truly, apart from the

things anyone can pick up (the dress ing and the proper way of speaking, and soon), the difference between a lady and a flower girl is not how she behaves, but

how she's treated. I shall always be a flower girl to Professor Higgins, because

he always treats me as a flower girl, and always will; but I know I can be a lady

to you, because you always treat me as a lady, and always will.

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Comment [j186]: Connotation

Comment [A187]: Litotes

Comment [A188]: Bildungromans

Comment [j189]: epithet

Comment [j190]: characterization

Comment [A191]: Connotation


Comment [A193]: Foil

Comment [A194]: Invective

Comment [j195]: setting

Comment [j196]: nostalgia


Comment [A198]: PolysyndentonCultural Context

Comment [A199]: Characterization

Comment [j200]: analogy

Comment [j201]: rhetorical q

Comment [A202]: Expletive and Amplification- separation with commas

Comment [A203]: Assonance


Comment [A205]: Parallel Syntaxwords aregiven with also a similar sentence

Comment [j206]: Repetition: always will


7/10

[20]PYGMALIONGeorge Bernard Shaw (published 1912)

HIGGINS. As if I ever stop thinking about the girl and her confounded vowels

and consonants. I'm worn out, thinking about her, and watching her lips and her

teeth and her tongue, not to mention her soul, which is the quaintest of the lot.

MRS. HIGGINS. You certainly are a pretty pair of babies, playing with your

live doll.

HIGGINS. Playing! The hardest job I ever tackled: make no mistake about that,mother. But you have no idea how frightfully interesting it is to take a human

being and change her into a quite different human being by creating a new

speech for her. It's filling up the deepest gulf that separates c lass from class and

soul from soul.

PICKERING [drawing his chair closer to Mrs. Higgins and bending over to hereagerly] Yes: it's enormously interesting. I assure you, Mrs. Higgins, we take

Eliza very seriously. Every week-- every day almost-- there is some new change.[Closer again] We keep records of every stage--dozens of gramophone disks

and photographs--

HIGGINS [assailing her at the o ther ear] Yes, by George: it's the most

absorbing experiment I ever tackled. She regularly fills our lives up; doesn't she,

Pick?

PICKERING. We're always talking Eliza.

HIGGINS. Teaching Eliza.

PICKERING. Dressing Eliza.

MRS. HIGGINS. What!HIGGINS. Inventing new Elizas.

Higgins and Pickering, speaking together:

HIGGINS. You know, she has the most extraordinary quickness of ear:

PICKERING. I assure you, my dear Mrs. Higgins, that girl HIGGINS. just likea parrot. I've tried her with every PICKERING. is a genius. She can play the

piano quite beautifully HIGGINS. possible sort of sound that a human being can

make-- PICKERING. We have taken her to classical concerts and to music

HIGGINS. Continental dialects, African dialects, Hottentot PICKERING. halls;

and it's all the same to her: she plays everything HIGGINS. clicks, things it took

me years to get hold of; and PICKERING. she hears right off when she comeshome, whether it's HIGGINS. she picks them up like a shot, right away, as if

she had PICKERING. Beethoven and Brahms or Lehar and Lionel Morickton;HIGGINS. been at it all her life. PICKERING. though six months ago, she'd

never as much as touched a piano.

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Comment [A207]: Polysyndenton with theword and

Asyndenton - commas

Comment [j208]: metaphor

Comment [A209]: Oxymoron need a noun


Comment [A211]: Personification

Comment [A212]: Contradiction

Comment [A213]: Parallelism


Comment [j215]: Synecdoche to the wholetransforming thing

Comment [A216]: Delayed sentence

Comment [A217]: Colloquial


Comment [A219]: Overlapping Dialogue

Comment [A220]: Simile

Comment [j221]: asyndeton

Comment [A222]: Onamatopea

Comment [A223]: Antrophormofism

Comment [A224]: Simile

Comment [A225]: MetonomyIllusion related to the classical artist

Comment [A226]: Polysyndenton with the

word And


8/10

OTHELLOWilliam Shakespeare (published 1565)

CASSIO. It hath the devil drunkenness pleased to give place to the devil wrath;

one unperfectness shows me another, to make me frankly despise myself.

IAGO. Come, you are too severe a moraler: as the time,

the place, and the condition of this country

stands, I could heartily wish this had not befallen;

but, since it is as it is, mend it for your own good.

CASSIO. I will ask him for my place again; he shall tell me

I am a drunkard! Had I as many mouths as Hydra,

such an answer would stop them all. To be now a

sensible man, by and by a fool, and presently a

beast! O strange! Every inordinate cup is

unblessed and the ingredient is a devil.

IAGO. Come, come, good wine is a good familiar creature,

if it be well used: exclaim no more against it.

And, good lieutenant, I think you think I love you.

CASSIO. I have well approved it, sir. I drunk!

IAGO. You or any man living may be drunk! at a time, man.

I'll tell you what you shall do. Our general's wife

is now the general: may say so in this respect, forthat he hath devoted and given up himself to the

contemplation, mark, and denotement of her parts and

graces: confess yourself freely to her; importune

her help to put you in your place again: she is of

so free, so kind, so apt, so blessed a disposition,she holds it a vice in her goodness not to do more

than she is requested: thisbroken joint between

you and her husband entreat her to sp linter; and, my

fortunes against any lay worth naming, this

crack of your love shall grow stronger than it was before.

CASSIO. You advise me well.

IAGO. I protest, in the sincerity of love and honest kindness.

CASSIO. I think it freely; and betimes in the morning I will

beseech the virtuous Desdemona to undertake for me:I am desperate of my fortunes if they cheque me here.

IAGO. You are in the right. Good night, lieutenant; I

must to the watch.

CASSIO: Good night, honest Iago.

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Comment [j227]: Consonance: the d sounds


Comment [A229]: Consonnance: the S

Comment [A230]: Asyndenton

Comment [j231]: sarcasm

Comment [A232]: SimileIllusion alluding to Hydra

Comment [j233]: antithesis

Comment [A234]: Apostrophoie

Comment [A235]: Personification and Metaphor

Comment [j236]: personification

Comment [j237]: delayed sentence

Comment [j238]: PLOT

Comment [A239]: Historical Connotation


Comment [A241]: Anaphora

Comment [A242]: Eufony


Comment [j244]: analogy

Comment [j245]: euphemism

Comment [A246]: Irony


Comment [j248]: internal rhyme

Comment [A249]: Trafic Flaw -


9/10


IAGO. I do beseech you--Though I perchance am vicious in my guess,

As, I confess, it is my nature's plague

To spy into abuses, and oft my jealousy

Shapes faults that are not--that your wisdom yet,

From one that so imperfectly conceits,Would take no notice, nor build yourself a trouble

Out of his scattering and unsure observance.

It were not for your quiet nor your good,

Nor for my manhood, honesty, or wisdom,

To let you know my thoughts.

OTHELLO. What dost thou mean?

IAGO. Good name in man and woman, dear my lord,

Is the immediatejewel of their souls:Who steals my purse steals trash; 'tis something, nothing;

'Twas mine, 'tis his, and has been slave to thousands:

But he that filches from me my good name

Robs me of that which not enriches him

And makes me poor indeed.

OTHELLO. By heaven, I'll know thy thoughts.

IAGO. You cannot, if my heart were in your hand;

Nor shall not, whilst 'tis in my custody.

OTHELLO. Ha!

IAGO. O, beware, my lord, of jealousy;

It is the green-eyed monster which doth mock

The meat it feeds on; that cuckold lives in bliss

Who, certain of his fate, loves not his wronger;

But, O, what damned minutes tells he o'er

Who dotes, yet doubts, suspects, yet strongly loves!

OTHELLO. O misery!

IAGO. Poor and content is rich and rich enough,

But riches fineless is as poor as winter

To him that ever fears he shall be poor.Good heaven, the souls of all my tribe defend

From jealousy!

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Comment [PM250]: Archaic Diction


Comment [PM252]: Connotation: HumanNature / Sylogism


Comment [PM254]: Characterization

Comment [j255]: anthro

Comment [PM256]: Litote

Comment [PM257]: Alliteration: Assonance

Comment [PM258]: Delayed sentence &amplification

Comment [PM259]: Asyndeton

Comment [j260]: Delayed sentence

Comment [PM261]: Archaic Diction

Comment [j262]: thesis

Comment [j263]: theme: reputation


Comment [PM265]: Metaphors

Comment [PM266]: Alliteration: Consonance

Comment [j267]: expletive

Comment [PM268]: Contradiction

Comment [PM269]: Apostrophe, Colloquial

Comment [PM270]: Foreshadow



Comment [PM273]: Analogy, connotation,allusion to 7 deadly sins

Comment [PM274]: Cacophony

Comment [PM275]: Allusion

Comment [PM276]: Contradiction

Comment [PM277]: Asyndeton

Comment [j278]: Consonance:T sounds

Comment [PM279]: Thesis

Comment [PM280]: Apostrophe

Comment [j281]: juxtapositio n

Comment [PM282]: Simile


10/10


IAGO. And did you see the handkerchief?OTHELLO. Was that mine?

IAGO. Yours by this hand: and to see how he prizes the

Foolish woman our wife! She gave it to him, and heHath given it to his whore.

OTHELLO. I would have him nine years a-killing.

IAGO. Nay, you must forget that.

OTHELLO. Ay, let her rot, and perish, and be damned to-night;

for she shall not live: no, my heart is turned to

stone; I strike it, and it hurts my hand. O, the

world hath not a sweeter creature: she might lie byan emperor's side and command him tasks.

IAGO.Nay, that's not your way.

OTHELLO. Hang her! I do but say what she is: so delicate

with her needle: an admirable musician: O! she

will sing the savageness out of a bear: of so high

and plenteous wit and invention:--

IAGO. She's the worse for all this.

OTHELLO. O, a thousand thousand times: and then, of so

gentle a condition!

IAGO. Ay, too gentle.

OTHELLO. Nay, that's certain: but yet the pity of it, Iago!

O Iago, the pity of it, Iago!

IAGO. If you are so fond over her iniquity, give herpatent to offend; for, if it touch not you, it comes

near nobody.

OTHELLO. I will chop her into messes: cuckold me!

IAGO. O, 'tis foul in her.

OTHELLO . With mine officer!

IAGO. That's fouler.

OTHELLO. Get me some poison, Iago; this night: I'll notexpostulate with her, lest her body and beauty

unprovide my mind again: this night, Iago.

IAGO. Do it not with poison, strangle her in her bed, eventhe bed she hath contaminated.

OTHELLO. Good, good: the justice of it pleases: very good.

IAGO. And for Cassio, let me be his undertaker: youshall hear more by midnight.

OTHELLO. Excellent good.

What elements of style are used to convey Othellos feelings towardDesdemona?

What does this text tell us about the relationship between Othello andIago?

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Comment [PM284]: Motif, Cultural context:courting, Symbolic: Othellos love

Comment [PM285]: Invective, Synecdoche,Social context


Comment [PM287]: Foreshadow!

Comment [j288]: litote

Comment [PM289]: Bibliomancy

Comment [PM290]: Hyperbole and imagery

Comment [j291]: Internal rhyme

Comment [j292]: invective


Comment [j294]: characterizatio

Comment [PM295]: Anadiplosis

Comment [j296]: Trans wd

Comment [j297]: Consonance: T sound

Comment [PM298]: Connotation

Comment [j299]: repetition


Comment [j301]: juxtapositio n

Comment [PM302]: Cacophony

Comment [j303]: Repetition: this night iago

Comment [PM304]: Euphemism

Comment [PM305]: Repetition

Comment [j306]: anthropomorphism

Comment [PM307]: Connotation: Killer

Comment [PM308]: Periphrasis

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