28. Which emotion does the narrator not express toward Bartleby? Melancholy Pity Fear Repulsion Haughtiness

27. The tone of this passage is best characterized as:

  1. resigned      pessimism.
  2. descriptive      wondering.
  3. unalloyed      criticism.
  4. regretful      despair.
  5. deadened      joy.

28. Which emotion does the narrator not express toward Bartleby?

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  1. Melancholy
  2. Pity
  3. Fear
  4. Repulsion
  5. Haughtiness

29. In the selected passage, Melville uses all of the following rhetorical devices to describe Bartleby except: 

  1. hyperbole.
  2. juxtaposition      of contrasts.
  3. lists.
  4. concrete      detail.
  5. personification.


30. Which of the following is not an accurate description of Melville’s style in this particular passage?

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  1. Melville      avoids simple sentences.
  2. Melville      uses compound and complex sentences.
  3. Melville      uses past tense to suggest Bartleby’s passivity.
  4. Melville’s      irony underscores the inane nature of Bartleby’s life.
  5. Melville’s      subtle use of humor belies Bartleby’s tragic situation.

31. The shift that occurs between the two paragraphs in the passage can best be described as:

  1. moving      from past to present tense.
  2. shifting      from concrete to abstract terms.
  3. employing      transitions to connect the two paragraphs.
  4. shifting      from concrete memories to an exploration of feelings.
  5. transitioning      from sparse description to elaborate contemplation.

32. In line 29, “effectual succor” is best paraphrased as:

  1. true      success.
  2. effective      aid.
  3. quick      repulsion.
  4. innate      soul.
  5. best      affection.

Questions 33-40 refer to “London” by William Blake (1757-1827). Read the poem carefully before answering the questions that follow. 


I wandered through each chartered* street,  *designed, framed, mapped

Near where the chartered Thames does flow,

A mark in every face I meet,

(Line)   Marks of weakness, marks of woe.

5  In every cry of every man,

In every infant’s cry of fear,

In every voice, in every ban*,  *taboo, prohibited activity

The mind-forged manacles I hear:

How the chimney-sweeper’s cry

10   Every blackening church appals,

And the hapless soldier’s sigh

Runs in blood down palace-walls.

But most, through midnight streets I hear

How the youthful harlot’s curse

15  Blasts the new-born infant’s tear,

And blights with plagues the marriage-hearse.


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