Ellison 1. What type of words draw your attention? Do they tend to be a particular part of speech, such as verbs, nouns, adjectives, or adverbs? Is the language general and abstract or specific and concrete? 2. Is the language formal, informal, colloquial, or slang? 3. Are some words nonliteral or figurative, creating figures of speech such as metaphors? 4. Are there words with strong connotations? Words with a particular emotional punch? When you analyze syntax, you might ask: 1. What is the order of the parts of the sentence? Is it the usual order (subjectverb-object), or is it inverted (object-subject-verb, or any other pattern that is out of the ordinary)? 2. What are the sentences like? Are they periodic (moving toward something important at the end) or cumulative (beginning with an important idea and then adding details)? 3. Are many of the sentences simple? Complex? Compound? Are the sentences on the long side, or are they short? 4. Does the writer ask questions? 5. How does the writer connect words, phrases, and clauses?

Which statement is the best summary of the theme in this passage? people almost always disappoint their family members. working hard and being honest leads to long-lasting rewards. showing strength in a crisis makes problems easier to overcome. unintentional betrayal can lead to severe consequences

Select the correct answer. lyric poems often deal with intense emotions. which statement best describes the shift in emotion in "lift every voice and sing" as it moves from the first into the second stanza? lift every voice and sing till earth and heaven ring, ring with the harmonies of liberty; let our rejoicing rise high as the listening skies, let it resound loud as the rolling sea. sing a song full of the faith that the dark past has taught us, sing a song full of the hope that the present has brought us, facing the rising sun of our new day begun let us march on till victory is won. stony the road we trod, bitter the chastening rod, felt in the days when hope unborn had died; yet with a steady beat, have not our weary feet come to the place for which our fathers sighed? we have come over a way that with tears has been watered, we have come, treading our path through the blood of the slaughtered, out from the gloomy past, till now we stand at last where the white gleam of our bright star is cast. a. the joyful call of the first stanza gives way to a bitter recounting of history in the second. b. the first stanza's anger is replaced by the second stanza's resignation. c. the poem moves from a sense of wonder in the first stanza toward a sense of perplexity in the second. d. there is no change between the first stanza and the second. the emotions are the same in both.

Juanito. hey, don't leave yet. what type of work? and where? who do i see? hey, don't leave yet! the duende. (the duende stops and turns). be careful. danger. danger. (he exits.) —blanca flor, angel vigl read these lines from the play again, then rewrite them as they might appear in a novel. the answer is 'hey, don't leave yet," cried juanito. "what type of work? and where? who do i see? hey, don't leave yet! " the duende stopped and turned back to juanito. "be careful. danger," he warned. as he turned to leave, he repeated: "danger."