Contested Usage — Unit test Answers

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Read the poem "The Great Wave: Hokusai."It is because the sea is blue,Because Fuji is blue, because the bent blueMen have white faces, like the snowOn Fuji, like the crest of the wave in the sky the color of theirBoats. It is because the airIs full of writing, because the wave is still: that nothingWill harm these frail strangers,That high over Fuji in an earthcolored sky the fingersWill not fall; and the blue menLean on the sea like snow, and the wave like a mountain leansAgainst the sky.In the painter's seaAll fishermen are safe. All anger bends under his unity.But the innocent bystander, he merely'Walks round a corner, thinking of nothing': hiddenBehind a screen we hear his cry.He stands half in and half out of the world; he is the men,But he cannot see below FujiThe shore the color of sky; he is the wave, he stretchesHis claws against strangers. He isNot safe, not even from himself. His world is flat.He fishes a sea full of serpents, he rides his boatBlindly from wave to wave toward Ararat.

Look at the painting The Great Wave by Katsushika Hokusai.

What factors affect an author’s viewpoint? Select 4 options.the author’s knowledgethe author’s publisherthe author’s opinionthe author’s worldviewthe author’s experiencethe author’s illustrations

Which line would be best to include in a summary of "Hokusai's The Great Wave”?

Consider the painting entitled Woman with a Pearl Necklace by Vermeer.

What does pausing before a certain word in the middle of a sentence provide for the listener?

Read the excerpt from "Early Victorian Tea Set” by Neil MacGregor.As it got cheaper, tea also spread rapidly to the working classes. By 1800, as foreigners remarked, it was the new national drink. By 1900 the average tea consumption per person in Britain was a staggering 6 lbs (3 kilograms) a year. In 1809 the Swede Erik Gustav Geijer commented:Next to water, tea is the Englishman’s proper element. All classes consume it . . . in the morning one may see in many places small tables set up under the open sky, around which coal-carters and workmen empty their cups of delicious beverage.

Read the poem entitled "The Poison Tree" by William Blake.I was angry with my friend:I told my wrath, my wrath did end.I was angry with my foe:I told it not, my wrath did grow.And I watered it in fearsNight and morning with my tears,And I sunned it with smilesAnd with soft deceitful wiles.And it grew both day and night,Till it bore an apple bright,And my foe beheld it shine,And he knew that it was mine, —And into my garden stoleWhen the night had veiled the pole;In the morning, glad, I seeMy foe outstretched beneath the tree.

Read the excerpt from "Hokusai's The Great Wave” by Neil MacGregor.The Japanologist Donald Keene, from Columbia University, sees the wave as a metaphor for the changes in Japanese society:The Japanese have a word for insular which is literally the mental state of the people living on islands: shimaguni konjo. Shimaguni is ‘island nations’ konjo is ‘character’. The idea is they are surrounded by water and, unlike the British Isles, which were in sight of the continent, are far away. The uniqueness of Japan is often brought up as a great virtue. A new change of interest in the world, breaking down the classical barriers, begins to emerge. I think the interest in waves suggests the allure of going elsewhere, the possibility of finding new treasures outside Japan, and some Japanese at this time secretly wrote accounts of why Japan should have colonies in different parts of the world in order to augment their own riches.The Great Wave, like the other images in the series, was printed in at least 5,000 impressions, possibly as many as 8,000, and we know that in 1842 the price of a single sheet was officially fixed at 16 mon, the equivalent of a double helping of noodles. This was cheap, popular art; but when printed in such quantities, to exquisite technical standards, it could be highly profitable.

Read the excerpt from "Hokusai's The Great Wave” by Neil MacGregor.In the early nineteenth century Japan had been effectively closed off from the world for 200 years. It had simply opted out of the community of nations.Kings are burning somewhere,Wheels are turning somewhere,Trains are being run,Wars are being won,Things are being doneSomewhere out there, not here.Here we paint screens.Yes . . . the arrangement of the screens.This is Stephen Sondheim’s musical tableau of the secluded and calmly self-contained country in 1853, just before American gunships forced its harbours to open to the world. It is a witty caricature of the dreamy and aesthetic Japanese, serenely painting screens while across the seas Europe and America industrialize and political turmoil rages.

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Which sentence best uses a split infinitive to clearly emphasize water safety?

Asher wants to compare the subjects of the poems "The Great Wave: Hokusai" and "Landscape with the Fall of Icarus" by analyzing their structures.Asher should pay the most attention to