Comparing Genres: Biography and Editorial — Unit test Answers

Read the line from Rita Dove’s poem "Sonnet in Primary Colors,” then study Frida Kahlo’s painting Self-Portrait with Monkey and Parrot.the thumbprint searing her immutable brow.

Read the excerpt from act 2 of A Doll's House.Nora: [glancing at the card] Oh! [Puts it in her pocket.]Rank: Is there anything wrong?Nora: No, no, not in the least. It is only something—it is my new dress—Rank: What? Your dress is lying there.Nora: Oh, yes, that one; but this is another. I ordered it. Torvald mustn't know about it—Rank: Oho! Then that was the great secret.Nora: Of course. Just go in to him; he is sitting in the inner room. Keep him as long as—Rank: Make your mind easy; I won't let him escape.

Read the passage from "Two Kinds.”She walked over and stood in front of the TV. I saw her chest was heaving up and down in an angry way."No!” I said, and I now felt stronger, as if my true self had finally emerged. So this was what had been inside me all along."No! I won’t!” I screamed.She yanked me by the arm, pulled me off the floor, snapped off the TV. She was frighteningly strong, half pulling, half carrying me toward the piano as I kicked the throw rugs under my feet. She lifted me up and onto the hard bench. I was sobbing by now, looking at her bitterly. Her chest was heaving even more and her mouth was open, smiling crazily as if she were pleased I was crying."You want me to be something that I’m not!” I sobbed. "I’ll never be the kind of daughter you want me to be!”"Only two kinds of daughters,” she shouted in Chinese. "Those who are obedient and those who follow their own mind! Only one kind of daughter can live in this house. Obedient daughter!”

Which excerpts from "Two Kinds” show a connection between conflict and culture? Select two options.

Read the excerpt from act 2 of A Doll's House.Rank: [leaning towards her] Nora—do you think he is the only one—?Nora: [with a slight start] The only one—?Rank: The only one who would gladly give his life for your sake.Nora: [sadly] Is that it?Rank: I was determined you should know it before I went away, and there will never be a better opportunity than this. Now you know it, Nora. And now you know, too, that you can trust me as you would trust no one else.Nora: [rises, deliberately and quietly] Let me pass.Rank: [makes room for her to pass him, but sits still] Nora!Nora: [at the hall door] Helen, bring in the lamp. [Goes over to the stove.] Dear Doctor Rank, that was really horrid of you.Rank: To have loved you as much as anyone else does? Was that horrid?Nora: No, but to go and tell me so. There was really no need—Rank: What do you mean? Did you know—? [MAID enters with lamp, puts it down on the table, and goes out.] Nora—Mrs. Helmer—tell me, had you any idea of this?Nora: Oh, how do I know whether I had or whether I hadn't? I really can't tell you—To think you could be so clumsy, Doctor Rank! We were getting on so nicely.Rank: Well, at all events you know now that you can command me, body and soul. So won't you speak out?Nora: [looking at him] After what happened?Rank: I beg you to let me know what it is.Nora: I can't tell you anything now.Rank: Yes, yes. You mustn't punish me in that way. Let me have permission to do for you whatever a man may do.Nora: You can do nothing for me now. Besides, I really don't need any help at all. You will find that the whole thing is merely fancy on my part. It really is so—of course it is! [Sits down in the rocking-chair, and looks at him with a smile.] You are a nice sort of man, Doctor Rank! Don't you feel ashamed of yourself, now the lamp has come?

Read the passage from A Room of One’s Own.Her mind must have been strained and her vitality lowered by the need of opposing this, of disproving that. For here again we come within range of that very interesting and obscure masculine complex which has had so much influence upon the woman's movement; that deep-seated desire, not so much that SHE shall be inferior as that HE shall be superior, which plants him wherever one looks, not only in front of the arts, but barring the way to politics too, even when the risk to himself seems infinitesimal and the suppliant humble and devoted.

Read the excerpt from chapter 7 of Night.Pressed tightly against one another, in an effort to resist the cold, our heads empty and heavy, our brains a whirlwind of decaying memories. Our minds numb with indifference.

In this passage, the author suggests that cruelty can occur when people face horrible conditions. Which evidence best supports this viewpoint? Select two options.

Read the passage from "Two Kinds.”In spite of these warning signs, I wasn't worried. Our family had no piano and we couldn't afford to buy one, let alone reams of sheet music and piano lessons. So I could be generous in my comments when my mother bad-mouthed the little girl on TV."Play note right, but doesn't sound good! No singing sound," complained my mother."What are you picking on her for?" I said carelessly. "She's pretty good. Maybe she's not the best, but she's trying hard." I knew almost immediately I would be sorry I said that."Just like you," she said. "Not the best. Because you not trying." She gave a little huff as she let go of the sound dial and sat down on the sofa.The little Chinese girl sat down also to play an encore of "Anitra's Dance" by Grieg. I remember the song, because later on I had to learn how to play it.

Read the passage from A Doll’s House.Helmer: Because such an atmosphere of lies infects and poisons the whole life of a home. Each breath the children take in such a house is full of the germs of evil.Nora: [coming nearer him] Are you sure of that?Helmer: My dear, I have often seen it in the course of my life as a lawyer. Almost everyone who has gone to the bad early in life has had a deceitful mother.Nora: Why do you only say—mother?Helmer: It seems most commonly to be the mother's influence, though naturally a bad father's would have the same result. Every lawyer is familiar with the fact. This Krogstad, now, has been persistently poisoning his own children with lies and dissimulation; that is why I say he has lost all moral character. [Holds out his hands to her.] That is why my sweet little Nora must promise me not to plead his cause. Give me your hand on it. Come, come, what is this? Give me your hand. There now, that's settled. I assure you it would be quite impossible for me to work with him; I literally feel physically ill when I am in the company of such people.

Read the passage from A Doll’s House.Nora: Hide the Christmas Tree carefully, Helen. Be sure the children do not see it until this evening, when it is dressed. [To the porter, taking out her purse.] How much?Porter: Sixpence.Nora: There is a shilling. No, keep the change. [The porter thanks her, and goes out. Nora shuts the door. She is laughing to herself, as she takes off her hat and coat. She takes a packet of macaroons from her pocket and eats one or two; then goes cautiously to her husband's door and listens.] Yes, he is in. [Still humming, she goes to the table on the right.]

Read the excerpt from act 3 of A Doll’s House.Helmer: Do you know, you ought to embroider.Mrs. Linde: Really? Why?Helmer: Yes, it's far more becoming. Let me show you. You hold the embroidery thus in your left hand, and use the needle with the right—like this—with a long, easy sweep. Do you see?Mrs. Linde: Yes, perhaps—Helmer: But in the case of knitting—that can never be anything but ungraceful; look here—the arms close together, the knitting-needles going up and down—it has a sort of Chinese effect—. That was really excellent champagne they gave us.Mrs. Linde: Well,—goodnight, Nora, and don't be self-willed any more.Helmer: That's right, Mrs. Linde.Mrs. Linde. Goodnight, Mr. Helmer.Helmer [accompanying her to the door]: Goodnight, goodnight. I hope you will get home all right. I should be very happy to—but you haven't any great distance to go. Goodnight, goodnight. [She goes out; he shuts the door after her, and comes in again.] Ah!—at last we have got rid of her. She is a frightful bore, that woman.

Read the excerpt from chapter 2 of Night.And so an hour or two passed. Another scream jolted us. The woman had broken free of her bonds and was shouting louder than before:"Look at the fire! Look at the flames! Flames everywhere . . .”Once again, the young men bound and gagged her. When they actually struck her, people shouted their approval:"Keep her quiet! Make that madwoman shut up. She’s not the only one here . . .”She received several blows to the head, blows that could have been lethal. Her son was clinging desperately to her, not uttering a word. He was no longer crying.

Read the passage from A Room of One’s Own.For surely it is time that the effect of discouragement upon the mind of the artist should be measured, as I have seen a dairy company measure the effect of ordinary milk and Grade A milk upon the body of the rat. They set two rats in cages side by side, and of the two one was furtive, timid and small, and the other was glossy, bold and big. Now what food do we feed women as artists upon? I asked, remembering, I suppose, that dinner of prunes and custard.

Read the excerpt from act 2 of A Doll's House.Nora: How should you understand it? A wonderful thing is going to happen!Mrs. Linde: A wonderful thing?Nora: Yes, a wonderful thing! But it is so terrible, Christine; it mustn't happen, not for all the world.Mrs. Linde: I will go at once and see Krogstad.Nora: Don't go to him; he will do you some harm.Mrs. Linde: There was a time when he would gladly do anything for my sake.Nora: He?Mrs. Linde: Where does he live?