FREE Missouri General Education Assessment: Literary Analysis, Comprehension, and Interpretation Questions and Answers
The following is an excerpt written about World War I By Vernon Bartlett
(1) Those at home in England, with their experience of war books and photographs, of Zeppelin raids and crowded hospitals, are beginning to imagine they know all there is to know about war. The truth is that they still have but little idea of the life in the trenches, and, as far as mud is concerned, they are delightfully ignorant. They do not know what mud is.
(2) They have read of Napoleon's "Fourth Element," they have listened to long descriptions of mud in Flanders and France, they have raised incredulous eyebrows at tales of men being drowned in the trenches, they have given a fleeting thought of pity for the soldiers "out there" as they have slushed home through the streets on rainy nights; but they have never realised what mud means, for no photograph can tell its slimy depth, and even the pen of a Zola or a Victor Hugo could give no adequate idea of it.
(3) It is the infantryman who suffers most, for he has to live, eat, sleep, and work in the mud. The plain of dragging slime that stretches from Switzerland to the sea is far worse to face than the fire of machine guns or the great black trench-mortar bombs that come twisting down through the air. It is more terrible than the frost and the rain—you cannot even stamp your feet to drive away the insidious chill that mud always brings. Nothing can keep it from your hands and face and clothes; there is no taking off your boots to dry in the trenches—you must lie down just as you are, and often you are lucky if you have two empty sandbags under you to save you from the cold embrace of the swamp.
What aspect of war does the excerpt primarily focus on?
The excerpt primarily discusses the hardships faced by infantrymen who have to live, eat, sleep, and work in the mud-filled trenches during World War I. The passage highlights the extreme difficulties of facing the mud as compared to other challenges like machine gun fire and trench-mortar bombs. It emphasizes the suffering caused by the conditions in the trenches, making choice C the most appropriate answer.
The following is an excerpt of a letter to Mrs. Saville from Robert Walton in the novel Frankenstein by Mary Shelley
(1) Yet do not suppose, because I complain a little or because I can conceive a consolation for my toils which I may never know, that I am wavering in my resolutions. Those are as fixed as fate, and my voyage is only now delayed until the weather shall permit my embarkation. The winter has been dreadfully severe, but the spring promises well, and it is considered as a remarkably early season, so that perhaps I may sail sooner than I expected. I shall do nothing rashly: you know me sufficiently to confide in my prudence and considerateness whenever the safety of others is committed to my care.
(2) I cannot describe to you my sensations on the near prospect of my undertaking. It is impossible to communicate to you a conception of the trembling sensation, half pleasurable and half fearful, with which I am preparing to depart. I am going to unexplored regions, to "the land of mist and snow," but I shall kill no albatross; therefore do not be alarmed for my safety or if I should come back to you as worn and woeful as the "Ancient Mariner." You will smile at my allusion, but I will disclose a secret. I have often attributed my attachment to, my passionate enthusiasm for, the dangerous mysteries of ocean to that production of the most imaginative of modern poets. There is something at work in my soul which I do not understand. I am practically industrious—painstaking, a workman to execute with perseverance and labor—but besides this there is a love for the marvelous, a belief in the marvelous, intertwined in all my projects, which hurries me out of the common pathways of men, even to the wild sea and unvisited regions I am about to explore.
(3) But to return to dearer considerations. Shall I meet you again, after having traversed immense seas, and returned by the most southern cape of Africa or America? I dare not expect such success, yet I cannot bear to look on the reverse of the picture. Continue for the present to write to me by every opportunity: I may receive your letters on some occasions when I need them most to support my spirits. I love you very tenderly. Remember me with affection, should you never hear from me again.
Your affectionate brother,
Robert Walton
What personal conflict does Robert Walton express in this excerpt from the novel "Frankenstein" by Mary Shelley?
In the excerpt, Robert Walton expresses his inner conflict between his practical, industrious nature and his passion for the marvelous and unexplored. He acknowledges his dual nature, mentioning that he is both practical and a lover of the marvellous. This is evident in lines such as "I am practically industrious—painstaking, a workman to execute with perseverance and labour—but besides this there is a love for the marvellous, a belief in the marvellous, intertwined in all my projects."
The following is an excerpt written about World War I By Vernon Bartlett
(1) Those at home in England, with their experience of war books and photographs, of Zeppelin raids and crowded hospitals, are beginning to imagine they know all there is to know about war. The truth is that they still have but little idea of the life in the trenches, and, as far as mud is concerned, they are delightfully ignorant. They do not know what mud is.
(2) They have read of Napoleon's "Fourth Element," they have listened to long descriptions of mud in Flanders and France, they have raised incredulous eyebrows at tales of men being drowned in the trenches, they have given a fleeting thought of pity for the soldiers "out there" as they have slushed home through the streets on rainy nights; but they have never realised what mud means, for no photograph can tell its slimy depth, and even the pen of a Zola or a Victor Hugo could give no adequate idea of it.
(3) It is the infantryman who suffers most, for he has to live, eat, sleep, and work in the mud. The plain of dragging slime that stretches from Switzerland to the sea is far worse to face than the fire of machine guns or the great black trench-mortar bombs that come twisting down through the air. It is more terrible than the frost and the rain—you cannot even stamp your feet to drive away the insidious chill that mud always brings. Nothing can keep it from your hands and face and clothes; there is no taking off your boots to dry in the trenches—you must lie down just as you are, and often you are lucky if you have two empty sandbags under you to save you from the cold embrace of the swamp.
What is the primary focus of the passage's description of mud in the context of World War I trenches?
The passage discusses the profound impact of mud on soldiers stationed in the trenches during World War I. It describes the mud as a significant challenge that the soldiers had to endure. The passage emphasizes how the mud was worse to face than various other wartime adversities, including gunfire and bombs. It goes on to detail how the mud made it extremely difficult for soldiers to even move, let alone maintain their body temperature. The passage's primary focus is to convey the immense discomfort, suffering, and difficulties that soldiers experienced due to the pervasive presence of mud in the trenches. This aligns with choice B, which accurately captures the main idea of this portion of the passage.
(1) The history of aeronautics may be divided into two periods, with the year 1914 as the dividing line between them. Before the great war the many brilliant minds that were trying to solve the problems of aerial navigation received comparatively little help or encouragement from humanity at large. The airship and the aeroplane were both accomplished facts, but most people looked upon them as ticklish contrivances of very little practical value. From the year 1909 onward aviation occupied an immense share of public attention; liberal prizes for aerial feats were offered; new records for speed, altitude, and endurance were made from day to day; but to the public, and perhaps to most of the aviators themselves, all this meant merely that a new and thrilling sport had been created, rather than a new art of boundless utility. Very few business men felt inclined to invest money in the development of aircraft, and the governments of the leading nations, with a single exception, were incredibly blind to the importance of building air fleets for use in war. The exception was Germany, which not only gave strong support to Count Zeppelin in the building of his dirigibles, but developed military aviation to such an extent that she entered the war with about 800 aeroplanes and a thousand trained pilots.
(2) With the outbreak of the war the budding art burst into vigorous bloom. Unlimited funds were now available for experimenting and building. Thousands of flyers invaded the air, and the battle zone was a testing ground on a vast scale, where one improvement was hardly introduced before it was replaced by another. Some of the best engineering talent of the world was diverted from many and various fields to the one task of supplying the demands of the military aeronauts for more speed, more power, more reliable motors, better materials and appliances. Thus the war not only perfected aeronautics—especially aviation—as an art, but practically created it as an industry. At the close of hostilities the world found itself in possession of a vast fleet of aircraft, a multitude of aircraft factories, and a great army of trained aeronauts.
What is the main idea conveyed in this passage about the history of aeronautics and its development during World War I?
The passage highlights how the outbreak of World War I marked a turning point for aeronautics. Before the war, aviation was seen as more of a sport than a practical utility, and investment and support were limited. However, with the war's arrival, aeronautics rapidly developed and flourished due to increased funds and experimentation. The passage mentions that the war not only perfected aeronautics as an art but practically created it as an industry, resulting in advancements in technology, the emergence of aircraft factories, and the training of a large number of aeronauts. This information aligns with choice B as the main idea of the passage.
Ode to the West Wind by Percy Bysshe Shelley
(1) O wild West Wind, thou breath of Autumn's being,
(2) Thou, from whose unseen presence the leaves dead
(3) Are driven, like ghosts from an enchanter fleeing,
(4) Yellow, and black, and pale, and hectic red,
(5) Pestilence-stricken multitudes: O thou,
(6) Who chariotest to their dark wintry bed
(7) The wingèd seeds, where they lie cold and low,
(8) Each like a corpse within its grave, until
(9) Thine azure sister of the Spring shall blow
(10) Her clarion o'er the dreaming earth, and fill
(11) (Driving sweet buds like flocks to feed in air)
(12) With living hues and odours plain and hill:
(13) Wild Spirit, which art moving everywhere;
(14) Destroyer and Preserver; hear, O hear!
In "Ode to the West Wind" by Percy Bysshe Shelley, what is the primary significance of the description of the "wingèd seeds" lying "cold and low" until the arrival of "Thine azure sister of the Spring"?
The description of the "wingèd seeds" lying "cold and low" until the arrival of "Thine azure sister of the Spring" signifies the portrayal of seeds as symbols of life's potential and renewal. This imagery highlights the transformative power of nature, where the dormant seeds await the rejuvenating influence of spring to burst forth into new life. It captures the theme of regeneration and the cyclicality of nature's processes, emphasizing the idea that even in the apparent stillness of winter, the promise of growth and vitality remains.
The following is an excerpt written about World War I By Vernon Bartlett
(1) Those at home in England, with their experience of war books and photographs, of Zeppelin raids and crowded hospitals, are beginning to imagine they know all there is to know about war. The truth is that they still have but little idea of the life in the trenches, and, as far as mud is concerned, they are delightfully ignorant. They do not know what mud is.
(2) They have read of Napoleon's "Fourth Element," they have listened to long descriptions of mud in Flanders and France, they have raised incredulous eyebrows at tales of men being drowned in the trenches, they have given a fleeting thought of pity for the soldiers "out there" as they have slushed home through the streets on rainy nights; but they have never realised what mud means, for no photograph can tell its slimy depth, and even the pen of a Zola or a Victor Hugo could give no adequate idea of it.
(3) It is the infantryman who suffers most, for he has to live, eat, sleep, and work in the mud. The plain of dragging slime that stretches from Switzerland to the sea is far worse to face than the fire of machine guns or the great black trench-mortar bombs that come twisting down through the air. It is more terrible than the frost and the rain—you cannot even stamp your feet to drive away the insidious chill that mud always brings. Nothing can keep it from your hands and face and clothes; there is no taking off your boots to dry in the trenches—you must lie down just as you are, and often you are lucky if you have two empty sandbags under you to save you from the cold embrace of the swamp.
What comparison does the author make between mud and other challenges faced during World War I?
The author compares the challenge of facing mud in the trenches to other challenges of war. The excerpt clearly states that the plain of dragging slime, symbolized by mud, is "far worse to face" than the fire of machine guns or trench-mortar bombs. The author emphasizes that mud poses a greater and more terrible challenge than other forms of warfare, making choice C the correct answer.
(1) When explorers venture into distant territories untouched by human hunters, they discover that wild animals exhibit a semi-tame behavior, showing little fear of humans and curiously observing them from a short distance. Gaining their trust requires significant time and restraint, offering an ideal environment for naturalists and those capturing images with cameras.
(2) During the early days of the American West, when game was abundant and the range of a hunter's weapon rarely exceeded fifty yards, wild creatures displayed a certain degree of tameness. However, the introduction of rifles and the activities of unregulated skin hunters quickly transformed these creatures into wary and cautious fugitives. A mere sight of a human figure from half a mile away or even catching a hint of human scent on the wind was sufficient to send creatures like Mountain Rams or Wolves fleeing for miles. This behavior contrasted sharply with their previous serene gazes from just a hundred yards away.
(3) The establishment of Yellowstone Park in 1872 marked the beginning of a new era in wildlife protection and gradually reshaped the attitude of these animals towards humans. Within this protected reservation, which stands apart from the rest of the northwest, not only are wild creatures abundant, but they have also reclaimed their historical Garden of Eden-like disposition towards humans.
Which statement best reflects the evolving attitude of wildlife discussed in the passage?
The passage indicates that the establishment of Yellowstone Park marked the beginning of a new era of protection for wildlife and a shift in the attitude of animals towards humans. The passage mentions that in the Yellowstone Park Reservation, the wildlife not only became abundant but also resumed a positive attitude, described as a "traditional Garden-of-Eden attitude," towards humans. This choice reflects the positive change in wildlife's perception of humans in the context of the passage.