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The Grammardog Guide to Anthem by Ayn Rand All exercises use sentences from the novel. Includes over 250 multiple choice questions. About Grammardog Grammardog was founded in 2001 by Mary Jane McKinney, a high school English teacher and dedicated grammarian. She and other experienced English teachers in both high school and college regard grammar and style as the key to unlocking the essence of an author. Their philosophy, that grammar and literature are best understood when learned together, led to the formation of Grammardog.com, a means of sharing knowledge about the structure and patterns of language unique to specific authors. These patterns are what make a great book a great book. The arduous task of analyzing works for grammar and style has yielded a unique product, guaranteed to enlighten the reader of literary classics. Grammardog’s strategy is to put the author’s words under the microscope. The result yields an increased appreciation of the art of writing and awareness of the importance and power of language. Grammardog.com L.L.C. P.O. Box 299 Christoval, Texas 76935 Phone: 325-896-2479 Fax: 325-896-2676 [email protected] Visit the website at www.grammardog.com for a current listing of titles. We appreciate teachers’ comments and suggestions. E-mail us at [email protected] ISBN 978-1-60857-011-9 From ANTHEM by Ayn Rand, copyright 1938, 1946 by Ayn Rand, Introduction copyright © 1995 by Leonard Peikoff and the Estate of Ayn Rand. Used by permission of Dutton Signet, a division of Penguin Group (USA) Inc. Copyright © 2004 Grammardog.com L.L.C. Grammardog.com exercises may be reproduced for classroom and academic use only. Any other use requires express written permission of Grammardog.com. ANTHEM by Ayn Rand – Grammar and Style All exercises use sentences from the novel. TABLE OF CONTENTS Exercise 1 -- Parts of Speech 25 multiple choice questions ....5 Exercise 2 -- Proofreading: Spelling, Capitalization, and Punctuation 12 multiple choice questions ....7 Exercise 3 -- Proofreading: Spelling, Capitalization, and Punctuation 12 multiple choice questions ....8 Exercise 4 -- Simple, Compound, and Complex Sentences 25 multiple choice questions ....9 Exercise 5 -- Complements 25 multiple choice questions on direct object, indirect object, predicate nominative, predicate adjective, and object of preposition . . . 11 Exercise 6 -- Phrases 25 multiple choice questions on infinitive, gerund, prepositional, appositive, and participial phrases . . . 13 Exercise 7 -- Verbals 25 multiple choice questions on infinitives, gerunds, and participles . . . 15 Exercise 8 -- Clauses 25 multiple choice questions . . . 17 3 ANTHEM by Ayn Rand – Grammar and Style TABLE OF CONTENTS Exercise 9 -- Style: Figurative Language 25 multiple choice questions on metaphor, simile, and personification . . . 19 Exercise10 -- Style: Poetic Devices 25 multiple choice questions on assonance, consonance, alliteration, repetition, and rhyme . . . 21 Exercise 11 -- Style: Sensory Imagery 25 multiple choice questions . . . 23 Exercise 12 -- Style: Allusions and Symbols 20 multiple choice questions . . . 25 Exercise 13 -- Style: Literary Analysis – Selected Passage 1 6 multiple choice questions . . . 27 Exercise 14 -- Style: Literary Analysis – Selected Passage 2 6 multiple choice questions . . . 29 Exercise 15 -- Style: Literary Analysis – Selected Passage 3 6 multiple choice questions . . . 31 Exercise 16 -- Style: Literary Analysis – Selected Passage 4 6 multiple choice questions . . . 33 Answer Key -- Answers to Exercises 1-16 . . . 35 Glossary -- Literary Analysis . . . 37 Glossary -- Grammar . . . 48 4 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 1 PARTS OF SPEECH Identify the parts of speech in the following sentences. Label the underlined words: v = verb prep = preposition n = noun pron = pronoun adj = adjective conj = conjunction adv = adverb ____1. The flame of the candle stands still in the air. ____2. But we cannot change our bones nor our body. ____3. We were born with a curse. ____4. When we were five years old, we were sent to the Home of the Students, where there are ten wards, for our ten years of learning. ____5. So we fought against this curse. ____6. And we were lashed more often than all the other children. ____7. The sleeping halls are white and clean and bare of all things save one hundred beds. ____8. They do not speak often, for they are weary. ____9. We left them to lie in the shade of the Theater tent and we went with International 4-8818 to finish our work. ____10. They were frightened, but they stood by and watched us go. ____11. Hundreds upon hundreds of years ago men knew secrets which we have lost. ____12. International 4-8818 looked upon us and stepped back. ____13. “Equality 7-2521,” they said, “your face is white.” ____14. And now we know that metal draws the power of the sky, and that metal can be made to give it forth. ____15. We used for it the copper wires which we found here under the ground. ____16. But then came the day when the sky turned white, as if the sun had burst and spread its flame in the air, and the fields lay still without breath, and the dust of the road was white in the glow. 5 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 1 PARTS OF SPEECH ____17. And the Golden One stepped back, and stood looking upon their hands in wonder. ____18. Men never see their own faces and never ask their brothers about it, for it is evil to have concern for their own faces or bodies. ____19. This room has no windows and it is empty save for an iron post. ____20. Then we knew suddenly that we were lying on a soft earth and that we had stopped. ____21. We are walking to the fangs awaiting us somewhere among the great, silent trees. ____22. I owe nothing to my brothers, nor do I gather debts from them. ____23. Then here, on this mountaintop, with the world below me and nothing above me but the sun, I shall live my own truth. ____24. There is nothing to take a man’s freedom away from him, save other men. ____25. Through all the darkness, through all the shame of which men are capable, the spirit of man will remain alive on this earth. 6 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 2 PROOFREADING: SPELLING, CAPITALIZATION, PUNCTUATION Read the following passages and decide which type of error, if any, appears in each underlined section. PASSAGE 1 PASSAGE 2 “Our dearest one, we whispered. 1 Never have men said this to Women. 2 The head of the Golden One bowed slowly, and We looked into thier eyes and we could not lie. 1 “Yes, we whispered, and they smiled, and 2 then we said: Our dearest one, do not obey us.” 3 They steped back, and their eyes were wide 4 and still. they stood stil before us, their arms at their sides, 3 the palmes of their hands turned to us, as if their 4 body were delivered in submision to our eyes. And 5 we could not speak 6 “Speak these words again,” they Whispered. 5 “Which words? we asked. But they did not 6 answer, and we knew it. ____1. a. Spelling b. Capitalization c. Punctuation d. No error ____1. a. Spelling b. Capitalization c. Punctuation d. No error ____2. a. Spelling b. Capitalization c. Punctuation d. No error ____2. a. Spelling b. Capitalization c. Punctuation d. No error ____3. a. Spelling b. Capitalization c. Punctuation d. No error ____3. a. Spelling b. Capitalization c. Punctuation d. No error ____4. a. Spelling b. Capitalization c. Punctuation d. No error ____4. a. Spelling b. Capitalization c. Punctuation d. No error ____5. a. Spelling b. Capitalization c. Punctuation d. No error ____5. a. Spelling b. Capitalization c. Punctuation d. No error ____6. a. Spelling b. Capitalization c. Punctuation d. No error ____6. a. Spelling b. Capitalization c. Punctuation d. No error 7 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 3 PROOFREADING: SPELLING, CAPITALIZATION, PUNCTUATION Read the following passages and decide which type of error, if any, appears in each underlined section. PASSAGE 1 PASSAGE 2 When the Council of The Home questioned us, 1 we looked upon the faces of the Council, but 2 there was no curosity in those faces, and no anger, 3 and no mercy So when the oldest of them asked us: 4 “Where have you been?” we thought of our glass box and of our light, and we forgot al else. And we 5 answered: So we were taken to the Stone Room under the Palace of Corective Detention. This room has no 1 window’s and it is empty save for an iron post. 2 Two man stood by the post, naked but for leather 3 aprons and leather hoods over their faces. those 4 who had brought us departed, leeving us to the two 5 Judges who stood in a corner of the room 6 “we will not tell you.” 6 ____1. a. Spelling b. Capitalization c. Punctuation d. No error ____1. a. Spelling b. Capitalization c. Punctuation d. No error ____2. a. Spelling b. Capitalization c. Punctuation d. No error ____2. a. Spelling b. Capitalization c. Punctuation d. No error ____3. a. Spelling b. Capitalization c. Punctuation d. No error ____3. a. Spelling b. Capitalization c. Punctuation d. No error ____4. a. Spelling b. Capitalization c. Punctuation d. No error ____4. a. Spelling b. Capitalization c. Punctuation d. No error ____5. a. Spelling b. Capitalization c. Punctuation d. No error ____5. a. Spelling b. Capitalization c. Punctuation d. No error ____6. a. Spelling b. Capitalization c. Punctuation d. No error ____6. a. Spelling b. Capitalization c. Punctuation d. No error 8 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 4 SIMPLE, COMPOUND, AND COMPLEX SENTENCES Label each of the following sentences S for simple, C for compound, CX for complex, or CC for compound/complex. ____1. We have committed a greater crime, and for this crime there is no name. ____2. The laws say that none among men may be alone, ever and at any time, for this is the great transgression and the root of all evil. ____3. We know that we are evil, but there is no will in us and no power to resist it. ____4. We strive to be like all our brother men, for all men must be alike. ____5. Men must learn till they reach their fifteenth year. ____6. The sleeping halls were white and clean and bare of all things save one hundred beds. ____7. The Teachers told us so, and they frowned when they looked upon us. ____8. We learned that the earth is flat and that the sun revolves around it, which causes the day and the night. ____9. We could ask questions of these, for they do not forbid questions. ____10. It whispers to us that there are great things on this earth of ours, and that we can know them if we try, and that we must know them. ____11. When the bell rings, we all arise from our beds. ____12. Thus we lived each day of four years, until two springs ago when our crime happened. ____13. And when we cleaned the yard of the Home of the Scholars, we gathered the glass vials, the pieces of metal, the dried bones which they had discarded. ____14. We were gathering the papers and the rags which the wind had blown from the Theatre, when we saw an iron bar among the weeds. ____15. Thus we learned their name, and we stood watching them go, till their white tunic was lost in the blue mist. 9 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 4 SIMPLE, COMPOUND, AND COMPLEX SENTENCES ____16. The other women were far off in the field, when we stopped at the hedge by the side of the road. ____17. “If you see us among scores of women, will you look upon us?” ____18. Then the three of the sisters in the field appeared, coming toward the road, so the Golden One walked away from us. ____19. One night, we were cutting open the body of a dead frog when we saw its leg jerking. ____20. It was dead, yet it moved. ____21. Many days passed before we could speak to the Golden One again. ____22. In a month, the World Council of Scholars is to meet in our City. ____23. We must guard our tunnel as we had never guarded it before. ____24. “Take our brother Equality 7-2521 to the Palace of Corrective Detention.” ____25. We opened our eyes, lying on our stomach on the brick floor of a cell. 10 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 5 COMPLEMENTS Identify the complements in the following sentences. Label the underlined words: d.o. = direct object o.p. = object of preposition i.o. = indirect object p.a. = predicate adjective p.n. = predicate nominative ____1. We have broken the laws. ____2. We are alone here under the earth. ____3. We stole the candle from the larder of the Home of the Street Sweepers. ____4. All men are good and wise. ____5. And we learned much from our Teachers. ____6. This is an evil thing to say, for it is a transgression, the great Transgression of Preference, to love any among men better than the others, since we must love all men and all men are our friends. ____7. No men known to us could have built this place. ____8. Strange are the ways of evil. ____9. Yet as we stand at night in the great hall, removing our garments for sleep, we look upon our brothers and we wonder. ____10. The eyes of our brothers are dull, and never do they look one another in the eyes. ____11. We, Equality 7-2521, have discovered a new power of nature. ____12. We can give our brothers a new light, cleaner and brighter than any they have ever known. ____13. The Judges were small, thin men, grey and bent. ____14. Many Judges came to our cell, first the humblest and then the most honored Judges of the City. ____15. It was easy to escape from the Palace of Corrective Detention. ____16. The locks are old on the doors and there are no guards about. 11 ANTHEM by Ayn Rand – Grammar and Style ____17. We lit the candle and we saw that our place had not been found and nothing had been touched. ____18. Tomorrow, in the full light of day, we shall take our box, and leave our tunnel open, and walk through the streets to the Home of the Scholars. ____19. We shall tell them the truth. ____20. Tomorrow we shall be one of you again. ____21. We saw a great painting on the wall over their heads, of the twenty illustrious men who had invented the candle. ____22. “Our name is Equality 7-2521,” we answered, “and we are a Street Sweeper of this City. ____23. Give no thought to us, for we are nothing, but listen to our words, for we bring you a gift such as has never been brought to men. ____24. “We give you the power of the sky!” we cried. ____25. “The candle is a great boon to mankind, as approved by all men. 12 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 6 PHRASES Identify the phrases in the following sentences. Label the underlined words: par = participial ger = gerund inf = infinitive appos = appositive prep = prepositional ____1. There are few offenses blacker than to fight with our brothers, at any age and for any cause whatsoever. ____2. The Council of the Home told us so, and of all the children of that year, we were locked in the cellar most often. ____3. We, Equality 7-2521, were not happy in those years in the Home of the Students. ____4. This is a great sin, to be born with a head which is too quick. ____5. We did not listen well to the history of all the Councils elected since the Great Rebirth. ____6. And then we saw iron rings as steps leading down a shaft into a darkness without bottom. ____7. We knelt, and we crawled forward, our hand groping along the iron line to see where it would lead. ____8. Each night, we run to the ravine, and we remove the stones which we have piled upon the iron grill to hide it from men. ____9. And there it was that we saw Liberty 5-3000 walking along the furrows. ____10. And each day thereafter we knew the illness of waiting for our hour on the northern road. ____11. Then they glanced at us over their shoulder, and we felt as if a hand had touched our body, slipping softly from our lips to our feet. ____12. And we take no heed of the law which says that men may not think of women, save at the Time of Mating. ____13. And we thought that we would not let the Golden One be sent to the Palace. ____14. Yet as we walked back to the Home of the Street Sweepers, we felt that we wanted to sing, without reason. 13 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 6 PHRASES ____15. So we were reprimanded tonight, in the dining hall, for without knowing it we had begun to sing aloud some tune we had never heard. ____16. And now, sitting here in our tunnel, we wonder about these words. ____17. There are Fraternity 2-5503, a quiet boy with wise, kind eyes, who cry suddenly, without reason, in the midst of day or night, and their body shakes with sobs they cannot explain. ____18. We do not wish to look upon the Uncharted Forest. ____19. There was a thin thread of blood running from the corner of their mouth, but the lips were smiling. ____20. We looked into their eyes and we could not lie. ____21. The Collective 0-0009, the oldest and wisest of the Council, spoke and asked: “Who are you, our brother?” ____22. There is some error, one frightful error, in the thinking of men. ____23. We are sitting at a table and we are writing this upon paper made thousands of years ago. ____24. We thought it was strange that men had been permitted to build a house for only twelve. ____25. And here, in this uncharted wilderness, I and they, my chosen friends, my fellow-builders, shall write the first chapter in the new history of man. 14 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 7 VERBALS: GERUNDS, INFINITIVES, AND PARTICIPLES Identify the underlined verbals and verbal phrases in the sentences below as being gerund (ger), infinitive (inf), or participle (par). Also indicate the usage by labeling each: subj = subject adj = adjective d.o. = direct object adv = adverb o.p. = object of preposition Verbal Usage ____ ____1. It is a sin to think words no others think and to put them down upon a paper no others are to see. ____ ____2. And now there is nothing here save our one body, and it is strange to see only two legs stretched on the ground, and on the wall before us the shadow of our one head. ____ ____3. It is not good to be different from our brothers, but it is evil to be superior to them. ____ ____4. We did not listen well to the history of all the Councils elected since the Great Rebirth. ____ ____5. We wished to know about all the things which make the earth around us. ____ ____6. To find these things, the Scholars must study the earth and learn from the rivers, from the sands, from the winds and the rocks. ____ ____7. We wished to be a scholar. ____ ____8. We came back to have our dinner, which lasts one hour. ____ ____9. Where the City ends there is a great road winding off to the north, and we Street Sweepers must keep this road clean to the first mile-post. ____ ____10. Twice have we been sent to the Palace of Mating, but it is an ugly and shameful matter, of which we do not like to think. ____ ____11. And we thought then, standing in the square, that the likeness of a Saint was the face we saw before us in the flames, the face of the Transgressor of the Unspeakable Word. ____ ____12. We have fought against saying it, but now it is said. 15 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 7 VERBALS: GERUNDS, INFINITIVES, AND PARTICIPLES Verbal Usage ____ ____13. Tonight, after more days and trials than we can count, we finished building a strange thing, from the remains of the Unmentionable Times, a box of glass, devised to give forth the power of the sky of greater strength than we had ever achieved before. ____ ____14. We could not see our body nor feel it, and in that moment nothing existed save our two hands over a wire glowing in a black abyss. ____ ____15. Our discovery is too great for us to waste our time in sweeping the streets. ____ ____16. “You are damned, and we wish to share your damnation.” ____ ____17. There is some error, one frightful error, in the thinking of men. ____ ____18. Then we went out to gather wood for the great hearth of our home. ____ ____19. We look ahead, we beg our heart for guidance in answering this call no voice has spoken, yet we have heard. ____ ____20. I wished to know the meaning of things. ____ ____21. It is my ears which hear, and the hearing of my ears gives its song to the world. ____ ____22. “My dearest one, it is not proper for men to be without names. ____ ____23. There was a time when each man had a name of his own to distinguish him from all other men. ____ ____24. There is nothing to take a man’s freedom away from him, save other men. ____ ____25. And the day will come when I shall break all the chains of the earth, and raze the cities of the enslaved, and my home will become the capital of a world where each man will be free to exist for his own sake. 16 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 8 CLAUSES Indicate how the underlined clauses are used in the sentences below. Label the clause: subj = subject d.o. = direct object adj = adjective adv = adverb p.n. = predicate nominative o.p. = object of preposition ____1. What punishment awaits us if it be discovered. ____2. And we know well that there is no transgression blacker than to do or think alone. ____3. Our name is Equality 7-2521, as it is written on the iron bracelet which all men wear on their left wrists with their names upon it. ____4. It was not that the learning was too hard for us. ____5. We think that there are mysteries in the sky and under the water and in the plants which grow. ____6. And we were punished when the Council of Vocations came to give us our life Mandates which tell those who reach their fifteenth year what their work is to be for the rest of their days. ____7. Then we saw that the eyes of International 4-8818 were full to the lids with tears they dared not drop. ____8. We have solved secrets of which the Scholars have no knowledge. ____9. The women who have been assigned to work the soil live in the Home of the Peasants beyond the City. ____10. We look upon the light which we have made. ____11. “What is not done collectively cannot be good,” said International 1-5537. ____12. We awoke when a ray of sunlight fell across our face. ____13. “We found the marks of your feet across the plain where no men walk.” ____14. I understood the blessed thing which I had called my curse. ____15. I understood why the best in me had been my sins and my transgressions; and why I had never felt guilt in my sins. 17 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 8 CLAUSES ____16. It is the word by which the depraved steal the virtue of the good, by which the weak steal the might of the strong, by which the fools steal the wisdom of the sages. ____17. And when I understood this word, the book fell from my hands, and I wept, I who had never known tears. ____18. I have learned that my power of the sky was known to men long ago; they called it Electricity. ____19. I shall call to me all the men and the women whose spirit has not been killed within them and who suffer under the yoke of their brothers. ____20. And as I stand here at the door of glory, I look behind me for the last time. ____21. But I still wonder how it was possible, in those graceless years of transition, long ago, that men did not see whither they were going, and went on, in blindness and cowardice, to their fate. ____22. I wonder, for it is hard for me to conceive how men who knew the word “I”, could give it up and not know what they lost. ____23. For that which they died to save can never perish. ____24. And the day will come when I shall break all the chains of the earth, and raze the cities of the enslaved, and my home will become the capital of a world where each man will be free to exist for his own sake. ____25. And here, over the portals of my fort, I shall cut in the stone the word which is to be my beacon and my banner. 18 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 9 STYLE: FIGURATIVE LANGUAGE Identify the figurative language in the following sentences. Label the underlined words: p = personification s = simile m = metaphor ____1. And we looked straight into the eyes of the Council, but their eyes were as cold blue glass buttons. ____2. The sky is like a black sieve pierced by silver drops that tremble, ready to burst through. ____3. They are a tall, strong youth and their eyes are like fireflies, for there is laughter in their eyes. ____4. Only the iron tracks glowed through it, straight and white, calling us to follow. ____5. But we could not follow, for we were losing the puddle of light behind us. ____6. The fire flickers in the oven and blue shadows dance upon the walls, and there is no sound of men to disturb us. ____7. And it seems to us that our spirit is clear as a lake troubled by no eyes save those of the sun. ____8. Women work in the fields, and their white tunics in the wind are like the wings of sea-gulls beating over the black soil. ____9. Their body was straight and thin as a blade of iron. ____10. And the drops of water falling from their hands, as they raised the water to their lips, were like sparks of fire in the sun. ____11. Fear walks through the City, fear without name, without shape. ____12. Men never enter the Uncharted Forest, for there is no power to explore it and no path to lead among its ancient trees which stand as guards of fearful secrets. ____13. The trees have swallowed the ruins, and the bones under the ruins, and all the things which perished. ____14. They had hair of gold and eyes of blue as morning. 19 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 9 STYLE: FIGURATIVE LANGUAGE ____15. There was nothing left around us, nothing save night and a thin thread of flame in it, as a crack in the wall of a prison. ____16. For this wire is as a part of our body, as a vein torn from us, glowing with our blood. ____17. Then we saw the Scholars who sat around a long table; they were as shapeless clouds huddled at the rise of the great sky. ____18. And slowly, slowly as a flush of blood, a red flame trembled in the wire. ____19. And the road seemed not to be flat before us, but as if it were leaping up to meet us, and we waited for the earth to rise and strike us in the face. ____20. The forest seemed to welcome us. ____21. “Your mouth is cut of granite, but our brothers are soft and humble.” ____22. It is my mind which thinks, and the judgment of my mind is the only searchlight that can find the truth. ____23. I am not a bandage for their wounds. ____24. The word “We” is as lime poured over men, which sets and hardens to stone, and crushes all beneath it, and that which is white and that which is black are lost equally in the grey of it. ____25. I am done with the monster of “We,” the word of serfdom, of plunder, of misery, falsehood and shame. 20 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 10 STYLE: POETIC DEVICES Identify the poetic devices in the following sentences. Label the underlined words: a. assonance b. consonance c. alliteration d. repetition e. rhyme ____1. The walls are cracked and water runs upon them in thin threads without sound, black and glistening as blood. ____2. And if sometimes, in the secret darkness of our heart, we regret that which befell us on our fifteenth birthday, we know that it was through our own guilt. ____3. We had broken a law, for we had not paid heed to the words of our Teachers. ____4. The shadow on the sundial marks off a half-hour while we dress and eat our breakfast in the dining hall, where there are five long tables with twenty clay plates and twenty clay cups on each table. ____5. They sit in the sun in summer and they sit by the fire in winter. ____6. It is empty save for trees and weeds. ____7. It was old and rusted by many rains. ____8. Thus did it come to pass that each night, when the stars are high and the Street Sweepers sit in the City Theatre, we, Equality 7-2521, steal and run through the darkness to our place. ____9. We alone, of the thousands who walk this earth, we alone in this hour are doing a work which has no purpose save that we wish to do it. ____10. Their hair was golden as the sun; their hair flew in the wind, shining and wild, as if it defied men to restrain it. ____11. And we stood still that we might not spill this pain more precious than pleasure. ____12. They stood still as a stone, and they looked straight upon us, straight into our eyes. ____13. “They always work in the same places,” we answered, “and no one will take this road away from us.” ____14. But here, in our tunnel, we feel it no longer. 21 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 10 STYLE: POETIC DEVICES ____15. And beyond the City there lies the plain, and beyond the plain, black upon the black sky, there lies the Uncharted Forest. ____16. But ever do our eyes return to that black patch upon the sky. ____17. They had torn out the tongue of the Transgressor, so that they could speak no longer. ____18. And of all the faces on that square, of all the faces which shrieked and screamed and spat curses upon them, theirs was the calmest and the happiest face. ____19. But we know its nature, we have watched it and worked with it. ____20. Then we knew what we must do. ____21. We wondered who was sprinkling burning coal dust upon the floor, for we saw drops of red twinkling on the stones around us. ____22. It is true that our tunic was torn and stained with brown stains which had been blood. ____23. “How dared you, gutter cleaner,” spoke Fraternity 9-3452, “to hold yourself as one alone and with the thoughts of the one and not of the many?” ____24. This miracle of me is mine to own and keep, and mine to guard, and mine to use, and mine to kneel before! ____25. And he stood on the threshold of the freedom for which the blood of the centuries behind him had been spilled. 22 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 11 STYLE: SENSORY IMAGERY Identify the sensory imagery in the following sentences. Label the underlined words: a. sight b. sound c. touch d. taste e. smell ____1. There is green mould in the grooves of the letters and yellow streaks on the marble, which come from more years than men could count. ____2. In the Home of the Students we arose when the big bell rang in the tower and we went to our beds when it rang again. ____3. We wished it so much that our hands trembled under the blankets in the night, and bit our arm to stop that other which we could not endure. ____4. Their hair was white and their faces were cracked as the clay of a dry river bed. ____5. In five hours, the shadows are blue on the pavements, and sky is blue with a deep brightness which is not bright. ____6. Then we sing hymns, the Hymn of Brotherhood, and the Hymn of Equality, and the Hymn of the Collective Spirit. ____7. On the ground there were long thin tracks of iron, but it was not iron; it felt smooth and cold as glass. ____8. The air is pure under the ground. There is no odor of men. ____9. We only knew suddenly that their hands were empty, but we were still holding our lips to their hands, and that they knew it, but did not move. ____10. The leaves rustle over our head, black against the last gold of the sky. ____11. The moss is soft and warm. ____12. They leapt to their feet, they ran from the table, and they stood pressed against the wall, huddled together, seeking the warmth of one another’s bodies to give them courage. ____13. We swung our fist through the windowpane, and we leapt out in a ringing rain of glass. ____14. We made a fire, we cooked the bird, and we ate it, and no meal had ever tasted better to us. 23 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 11 STYLE: SENSORY IMAGERY ____15. It lay so still that we saw no water but only a cut in the earth, in which the trees grew down, upturned, and the sky lay at the bottom. ____16. We knelt by the stream and we bent down to drink. ____17. We seized their body and we pressed our lips to theirs. ____18. The Golden One breathed once, and their breath was a moan, and then their arms closed around us. ____19. Then we walked on into the forest, their hand in ours. ____20. Stones rolled from under our feet, and we heard them striking the rocks below, farther and farther down, and the mountains rang with each stroke, and long after the strokes had died. ____21. The sunrays danced upon colors, colors, more colors than we thought possible, we who had seen no houses save the white ones, the brown ones and the grey. ____22. And there were globes of glass everywhere, in each room, the globes with the metal cobwebs inside, such as we had seen in our tunnel. ____23. But others were of heavier cloth, and they felt soft and new in our fingers. ____24. They were not soft and rolled, they had hard shells of cloth and leather; and the letters on their pages were so small and so even that we wondered at the men who had such handwriting. ____25. When the sun sank beyond the mountains, the Golden One fell asleep on the floor, amidst jewels, and bottles of crystal, and flowers of silk. 24 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 12 ALLUSIONS AND SYMBOLS Identify the type of allusion or symbol used in the following sentences. Label the underlined Words or phrases: a. archetypal b. mythological c. religious d. government e. science/technology ____1. Then we sing hymns, the Hymn of Brotherhood, and the Hymn of Equality, and the Hymn of the Collective Spirit. ____2. We looked too long at the stars at night, and at the trees and the earth. ____3. We melt strange metals, and we mix acids, and we cut open the bodies of the animals which we find in the City Cesspool. ____4. They took the bag of seeds, and they threw the seeds into the furrows of earth as they walked away. ____5. What – even if we have to burn for it like the Saint of the pyre – what is the Unspeakable Word? ____6. We put a piece of copper and a piece of zinc into a jar of brine, we touched a wire to them, and there, under our fingers, was a miracle which had never occurred before, a new miracle and a new power. ____7. It makes the needle move and turn on the compass which we stole from the Home of the Scholars; but we had been taught, when still a child, that the loadstone points to the north and that this is a law which nothing can change; yet our new power defies all laws. ____8. We found wires that led to strange little globes of glass on the walls; they contained threads of metal thinner than a spider’s web. ____9. But then came the day when the sky turned white, as if the sun had burst and spread its flame in the air, and the fields lay still without breath, and the dust of the road was white in the glow. ____10. Many Judges came to our cell, first the humblest and then the most honored Judges of the City. ____11. “Should it be what they claim of it, said Harmony 9-2642, “then it would bring ruin to the Department of Candles. ____12. “This could wreck the Plans of the World Council, said Unanimity 2-9913,” and without the Plans of the World Council the sun cannot rise.” 25 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 12 ALLUSIONS AND SYMBOLS ____13. We can kill more birds than we need for our food; we find water, and fruit in the forest. ____14. The fires smolder as a crown of jewels around us, and smoke stands still in the air, in columns made blue by the moonlight. ____15. I stand here on the summit of the mountain. ____16. He took the light of the gods and he brought it to men, and he taught men to be gods. ____17. “And he suffered for his deed as all bearers of light must suffer. His name was Prometheus.” ____18. “And I have read of a goddess,” I said, “who was the mother of the earth and of all the gods. Her name was Gaea.” ____19. I have learned that my power of the sky was known to men long ago; they called it Electricity. ____20. Thus did men – men with nothing to offer save their great number – lose the steel towers, the flying ships, the power wires, all the things they had not created and could never keep. 26 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 13 STYLE: LITERARY ANALYSIS – SELECTED PASSAGE 1 Read the following passage the first time through for meaning. The women who have been assigned to work the soil live in the Home of the Peasants beyond the City. Where the City ends there is a great road winding off to the north, and we Street Sweepers must keep this road clean to the first mile-post. There is a hedge along the road, and beyond the hedge lie the fields. The fields are black and ploughed, and they lie like a great fan before us, with their furrows gathered in some hand beyond the sky, spreading forth from that hand, opening wide apart as they come toward us, like black pleats that sparkle with thin, green spangles. Women work in the fields, and their white tunics in the wind are like the wings of sea-gulls beating over the black soil. And there it was that we saw Liberty 5-3000 walking along the furrows. Their body was straight and thin as a blade of iron. Their eyes were dark and hard and glowing, with no fear in them, no kindness and no guilt. Their hair was golden as the sun; their hair flew in the wind, shining and wild, as if it defied men to restrain it. They threw seeds from their hand as if they deigned to fling a scornful gift, and the earth was as a beggar under their feet. We stood still; for the first time did we know fear, and then pain. And we stood still that we might not spill this pain more precious than pleasure. Then we heard a voice from the others call their name: “Liberty 5-3000,” and they turned and walked back. Thus we learned their name, and we stood watching them go, till their white tunic was lost in the blue mist. (From Chapter II) Read the passage a second time, marking figurative language, sensory imagery, poetic devices, and any other patterns of diction and rhetoric, then answer the questions below. 1 The women who have been assigned to work the soil live in the Home of the Peasants beyond the City. Where 2 the City ends there is a great road winding off to the north, and we Street Sweepers must keep this road clean 3 to the first mile-post. There is a hedge along the road, and beyond the hedge lie the fields. The fields are black 4 and ploughed, and they lie like a great fan before us, with their furrows gathered in some hand beyond the sky, 5 spreading forth from that hand, opening wide apart as they come toward us, like black pleats that sparkle with 6 thin, green spangles. Women work in the fields, and their white tunics in the wind are like the wings of sea-gulls 7 beating over the black soil. 8 And there it was that we saw Liberty 5-3000 walking along the furrows. Their body was straight and thin as 9 a blade of iron. Their eyes were dark and hard and glowing, with no fear in them, no kindness and no guilt. 10 Their hair was golden as the sun; their hair flew in the wind, shining and wild, as if it defied men to restrain it. 11 They threw seeds from their hand as if they deigned to fling a scornful gift, and the earth was as a beggar under 12 their feet. 13 We stood still; for the first time did we know fear, and then pain. And we stood still that we might not spill 14 this pain more precious than pleasure. 27 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 13 STYLE: LITERARY ANALYSIS – SELECTED PASSAGE 1 15 Then we heard a voice from the others call their name: “Liberty 5-3000,” and they turned and walked back. 16 Thus we learned their name, and we stood watching them go, till their white tunic was lost in the blue mist. ____1. All of the following descriptions are parallel in meaning EXCEPT . . . a. Their body was straight and thin as a blade of iron (Lines 8-9) b. Their eyes were dark and hard and glowing (Line 9) c. Their hair was golden as the sun (Line 10) d. Their hair flew in the wind, shining and wild, as if it defied men to restrain it (Line 10) ____2. All of the following comparisons are described in the passage EXCEPT . . . a. the fields are like large fans b. the sky is like a hand c. the furrows are like pleats d. the sprouting crops are like spangles ____3. The underlined words in Line 2 are examples of . . . a. assonance b. consonance c. alliteration d. rhyme ____4. The underlined words in Lines 6 and 14 are examples of . . . a. assonance b. consonance c. alliteration d. rhyme ____5. The author characterizes Liberty 5-3000 as being all of the following EXCEPT . . . a. seductive b. fearless c. strong d. superior ____6. All of the following are examples of consonance EXCEPT . . . a. hand, beyond (Line 4) b. thin, green (Line 6) c. wind, wings (Line 6) d. lost, mist (Line 16) 28 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 14 STYLE: LITERARY ANALYSIS – SELECTED PASSAGE 2 Read the following passage the first time through for meaning. The lash whistled like a singing wind. We tried to count the blows, but we lost count. We knew that the blows were falling upon our back. Only we felt nothing upon our back any longer. A flaming grill kept dancing before our eyes, and we thought of nothing save that grill, a grill, a grill of red squares, and then we knew that we were looking at the squares of the iron grill in the door, and there were also the squares of stone on the walls, and the squares which the lash was cutting upon our back, crossing and re-crossing itself in our flesh. Then we saw a fist before us. It knocked our chin up, and we saw the red froth of our mouth on the withered fingers, and the Judge asked: “Where have you been?” But we jerked our head away, hid our face upon our tied hands, and bit our lips. The lash whistled again. We wondered who was sprinkling burning coal dust upon the floor, for we saw drops of red twinkling on the stones around us. The we knew nothing, save two voices snarling steadily, one after the other, even though we knew they were speaking many minutes apart: “Where have you been where have you been where have you been where have you been? . . . “ And our lips moved, but the sound trickled back into our throat, and the sound was only: “The light . . . The light . . . The light. . . .” Then we knew nothing. (From Chapter VI) Read the passage a second time, marking figurative language, sensory imagery, poetic devices, and any other patterns of diction and rhetoric, then answer the questions below. 1 The lash whistled like a singing wind. We tried to count the blows, but we lost count. We knew that the blows 2 were falling upon our back. Only we felt nothing upon our back any longer. A flaming grill kept dancing 3 before our eyes, and we thought of nothing save that grill, a grill, a grill of red squares, and then we knew 4 that we were looking at the squares of the iron grill in the door, and there were also the squares of stone on the 5 walls, and the squares which the lash was cutting upon our back, crossing and re-crossing itself in our flesh. 6 Then we saw a fist before us. It knocked our chin up, and we saw the red froth of our mouth on the withered 7 fingers, and the Judge asked: 8 “Where have you been?” 9 But we jerked our head away, hid our face upon our tied hands, and bit our lips. 10 The lash whistled again. We wondered who was sprinkling burning coal dust upon the floor, for we saw drops 11 of red twinkling on the stones around us. 12 Then we knew nothing, save two voices snarling steadily, one after the other, even though we knew they were 13 speaking many minutes apart: 14 “Where have you been where have you been where have you been where have you been? . . .” 29 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 14 STYLE: LITERARY ANALYSIS – SELECTED PASSAGE 2 15 And our lips moved, but the sound trickled back into our throat, and the sound was only: 16 “The light . . . The light . . . The light . . . “ 17 Then we knew nothing. ____1. The passage contains examples of all of the following sensory imagery EXCEPT . . . a. sight and sound b. sound and touch c. taste and smell ____2. All of the following descriptions are parallel in meaning EXCEPT . . . a. A flaming grill (Line 2) b. the red froth of our mouth (Line 6) c. burning coal dust upon the floor (Line 10) d. drops of red twinkling on the stones (Line 10-11) ____3. All of the following descriptions are examples of personification EXCEPT . . . a. The lash whistled (Line 1) b. A flaming grill kept dancing (Line 2) c. the sound trickled back into our throat (Line 15) ____4. The author uses all of the following examples of repetition to heighten the intensity of the torture EXCEPT . . . a. that grill, a grill, a grill (Line 3) b. red squares, the squares, the squares, the squares (Lines 3-5) c. “Where have you been where have you been where have you been where have you been? . . .” (Line 14) d. “The light . . . The light . . . The light. . . .” (Line 16) ____5. Line 9 contains all of the following poetic devices EXCEPT . . . a. assonance b. consonance c. alliteration d. rhyme ____6. Line 1 contains examples of . . . a. personification and simile b. metaphor and simile c. personification and metaphor 30 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 15 STYLE: LITERARY ANALYSIS – SELECTED PASSAGE 3 Read the following passage the first time through for meaning. It is dark here in the forest. The leaves rustle over our head, black against the last gold of the sky. The moss is soft and warm. We shall sleep on this moss for many nights, till the beasts of the forest come to tear our body. We have no bed now, save the moss, and no future, save the beasts. We are old now, yet we were young this morning, when we carried our glass box through the streets of the City to the Home of the Scholars. No men stopped us, for there were none about from the Palace of Corrective Detention, and the others knew nothing. No men stopped us at the gate. We walked through empty passages and into the great hall where the World Council of Scholars sat in solemn meeting. We saw nothing as we entered, save the sky in the great windows, blue and glowing. Then we saw the Scholars who sat around a long table; they were as shapeless clouds huddled at the rise of the great sky. There were men whose famous names we knew, and others from distant lands whose names we had not heard. We saw a great painting on the wall over their heads, of the twenty illustrious men who had invented the candle. All the heads of the Council turned to us as we entered. These great and wise of the earth did not know what to think of us, and they looked upon us with wonder and curiosity, as if we were a miracle. It is true that our tunic was torn and stained with brown stains which had been blood. We raised our right arm and we said: “Our greeting to you, our honored brothers of the World Council of Scholars!” The Collective 0-0009, the oldest and wisest of the Council, spoke and asked: “Who are you, our brother? For you do not look like a Scholar.” “Our name is Equality 7-2521,” we answered, “and we are a Street Sweeper of this City.” Then it was as if a great wind had stricken the hall, for all the Scholars spoke at once, and they were angry and frightened. (From Chapter VII) Read the passage a second time, marking figurative language, sensory imagery, poetic devices, and any other patterns of diction and rhetoric, then answer the questions below. 1 It is dark here in the forest. The leaves rustle over our head, black against the last gold of the sky. The moss 2 is soft and warm. We shall sleep on this moss for many nights, till the beasts of the forest come to tear our 3 body. We have no bed now, save the moss, and no future, save the beasts. 4 We are old now, yet we were young this morning, when we carried our glass box through the streets of the 5 City to the Home of the Scholars. No men stopped us, for there were none about from the Palace of Corrective 6 Detention, and the others knew nothing. No men stopped us at the gate. We walked through empty passages 7 and into the great hall where the World Council of Scholars sat in solemn meeting. 8 We saw nothing as we entered, save the sky in the great windows, blue and glowing. Then we saw the Scholars 9 who sat around a long table; they were as shapeless clouds huddled at the rise of the great sky. They were men 10 whose famous names we knew, and others from distant lands whose names we had not heard. We saw a great 11 painting on the wall over their heads, of the twenty illustrious men who had invented the candle. 12 All the heads of the Council turned to us as we entered. These great and wise of the earth did not know what 31 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 15 STYLE: LITERARY ANALYSIS – SELECTED PASSAGE 3 13 to think of us, and they looked upon us with wonder and curiosity, as if we were a miracle. It is true that our 14 tunic was torn and stained with brown stains which had been blood. We raised our right arm and we said: 15 “Our greeting to you, our honored brothers of the World Council of Scholars!” 16 The Collective 0-0009, the oldest and wisest of the Council, spoke and asked: 17 “Who are you, our brother? For you do not look like a Scholar.” 18 “Our name is Equality 7-2521,” we answered, “and we are a Street Sweeper of this City.” 19 Then it was as if a great had stricken the hall, for all the Scholars spoke at once, and they were angry 20 and frightened. ____1. The flashback beginning in Line 4 is signaled by all of the following devices EXCEPT . . . a. a change in setting b. a change in character c. a change in time of day d. a change in tense ____2. The underlined words in Line 9 are an example of . . . a. simile b. metaphor c. personification ____3. All of the following word pairs are examples of assonance EXCEPT . . . a. over, our (Line 1) b. moss, soft (Line 1-2) c. famous, names (Line 10) d. true, tunic (Line 13-14) ____4. A parallel tone is achieved between Lines 1-3 and . . . a. Lines 4-6 b. Line 8-10 c. Lines 15-17 d. Lines 19-20 ____5. In Lines 13-14, It is true that our tunic was torn contains all of the following poetic devices EXCEPT . . . a. assonance b. consonance c. alliteration d. rhyme ____6. All of the following contrasts are described in the passage EXCEPT . . . a. alienation/community b. dark/light c. trust/betrayal d. maturity/naïvety 32 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 16 STYLE: LITERARY ANALYSIS – SELECTED PASSAGE 4 Read the following passage the first time through for meaning. We awoke when a ray of sunlight fell across our face. We wanted to leap to our feet, as we have had to leap every morning of our life, but we remembered suddenly that no bell had rung and that there was no bell to ring anywhere. We lay on our back, we threw our arms out, and we looked up at the sky. The leaves had edges of silver that trembled and rippled like a river of green and fire flowing high above us. We did not wish to move. We thought suddenly that we could lie thus as long as we wished, and we laughed aloud at the thought. We could also rise, or run, or leap, or fall down again. We were thinking that these were thoughts without sense, but before we knew it our body had risen in one leap. Our arms stretched out of their own will, and our body whirled and whirled, till it raised a wind to rustle through the leaves of the bushes. Then our hands seized a branch and swung us high into a tree, with no aim save the wonder of learning the strength of our body. The branch snapped under us and we fell upon the moss that was soft as a cushion. Then our body, losing all sense, rolled over and over on the moss, dry leaves in our tunic, in our hair, in our face. And we heard suddenly that we were laughing, laughing aloud, laughing as if there were no power left in us save laughter. Then we took our glass box, and we went on into the forest. We went on, cutting through branches, and it was as if we were swimming through a sea of leaves, with the bushes as waves rising and falling and rising around us, and flinging their green sprays high to the treetops. The trees parted before us, calling us forward. The forest seemed to welcome us. We went on, without thought, without care, with nothing to feel save the song of our body. (From Chapter VIII) Read the passage a second time, marking figurative language, sensory imagery, poetic devices, and any other patterns of diction and rhetoric, then answer the questions below. 1 We awoke when a ray of sunlight fell across our face. We wanted to leap to our feet, as we have had to leap 2 every morning of our life, but we remembered suddenly that no bell had rung and that there was no bell to 3 ring anywhere. We lay on our back, we threw our arms out, and we looked up at the sky. The leaves had 4 edges of silver that trembled and rippled like a river of green and fire flowing high above us. 5 We did not wish to move. We thought suddenly that we could lie thus as long as we wished, and we laughed 6 aloud at the thought. We could also rise, or run, or leap, or fall down again. We were thinking that these 7 were thoughts without sense, but before we knew it our body had risen in one leap. Our arms stretched out 8 of their own will, and our body whirled and whirled, till it raised a wind to rustle through the leaves of the 9 bushes. Then our hands seized a branch and swung us high into a tree, with no aim save the wonder of 10 learning the strength of our body. The branch snapped under us and we fell upon the moss that was soft 11 as a cushion. Then our body, losing all sense, rolled over and over on the moss, dry leaves in our tunic, in 12 our hair, in our face. And we heard suddenly that we were laughing, laughing aloud, laughing as if there 13 were no power left in us save laughter. 33 ANTHEM by Ayn Rand – Grammar and Style EXERCISE 16 STYLE: LITERARY ANALYSIS – SELECTED PASSAGE 4 14 Then we took our glass box, and we went on into the forest. We went on, cutting through the branches, and it 15 was as if we were swimming through a sea of leaves, with the bushes as waves rising and falling and rising 16 around us, and flinging their green sprays high to the treetops. The trees parted before us, calling us 17 forward. The forest seemed to welcome us. We went on, without thought, without care, with nothing 18 to feel save the song of our body. ____1. The attitude of the main character can be described by all of the following words EXCEPT . . . a. joyful b. triumphant c. adventurous d. playful ____2. The extended metaphor in the passage compares . . . a. foliage to water b. freedom to leisure c. laughter to power ____3. In Line 18, the song of our body is an example of . . . a. metaphor b. simile c. personification ____4. The underlined words in Lines 10-11 contain examples of all of the following devices EXCEPT . . . a. assonance b. consonance c. alliteration d. simile ____5. Lines 16-17 contain examples of . . . a. metaphor b. simile c. personification ____6. All of the following lines are parallel in meaning EXCEPT . . . a. our body whirled and whirled (Line 8) b. rolled over and over (Line 11) c. laughing, laughing aloud, laughing (Line 12) d. rising and falling and rising (Line 15) 34 ANTHEM by Ayn Rand – Grammar and Style ANSWER KEY EXERCISES 1-16 EXERCISE 1: 1. v 2. conj 3. prep 4. n 5. prep 6. adv 7. adj 8. conj 9. pron 10. adj 11. n 12. v 13. adj 14. pron 15. prep 16. v 17. n 18. adv 19. adj 20. adv 21. n 22. pron 23. conj 24. adv 25. prep EXERCISE 2: PASSAGE 1 PASSAGE 2 1. a 2. c 3. c 4. a 5. b 6. c 1. c 2. b 3. a 4. a 5. a 6. c EXERCISE 3: PASSAGE 1 PASSAGE 2 1. b 2. d 3. a 4. c 5. a 6. b 1. a 2. c 3. a 4. b 5. a 6. c EXERCISE 4: 1. C 2. CC 3. CC 4. C 5. CX 6. S 7. CC 8. CX 9. C 10. CX 11. CX 12. CX 13. CX 14. CX 15. CC 16. CX 17. CX 18. CX 19. CX 20. C 21. CX 22. S 23. CX 24. S 25. S EXERCISE 5: 1. d.o. 2. p.a. 3. o.p. 4. p.a. 5. d.o. 6. p.n. 7. d.o. 8. p.a. 9. o.p. 10. p.a. 11. d.o. 12. i.o. 13. p.n. 14. o.p. 15. p.a. 16. p.a. 17. d.o. 18. o.p. 19. i.o. 20. p.n. 21. d.o. 22. p.n. 23. i.o. 24. i.o. 25. p.n. EXERCISE 6: 1. inf 2. prep 3. appos 4. inf 5. prep 6. par 7. par 8. inf 9. par 10. ger 11. par 12. ger 13. prep 14. prep 15. ger 16. par 17. appos 18. inf 19. par 20. prep 21. appos 22. ger 23. par 24. inf 25. appos EXERCISE 7: 1. inf adj 2. par adj 3. inf adv 4. par adj 5. inf d.o. 6. inf adv 7. inf d.o. 8. inf adv 9. par adj 10. ger o.p. 11. par adj 12. ger o.p. 13. ger d.o. 14. par adj 15. ger o.p. 16. inf d.o. 17. ger o.p. 18. inf adv 19. ger o.p. 20. inf d.o. 21. ger subj 22. inf adv 23. inf adj 24. inf adj 25. inf adv EXERCISE 8: 1.adv 2. d.o. 3. adj 4. p.n. 5. d.o. 6. adj 7. d.o. 8. o.p. 9. adj 10. adj 11. subj 12. adv 13. adj 14. adj 15. d.o. 16. o.p. 17. adv 18. d.o. 19. adj 20. adv 21. d.o. 22. adj 23. adj 24. adv 25. adj EXERCISE 9: 1. s 2. s 3. s 4. p 5. m 6. p 7. s 8. s 9. s 10. s 11. p 12. p 13. p 14. s 15. m 16. s 17. s 18. s 19. p 20. p 21. m 22. m 23. m 24. s 25. m EXERCISE 10: 1. c 2. a 3. b 4. a 5. c 6. a 7. c 8. c 9. d 10. a 11. e 12. d 13. a 14. b 15. d 16. a 17. c 18. d 19. c 20. e 21. e 22. c 23. b 24. d 25. b 35 ANTHEM by Ayn Rand – Grammar and Style ANSWER KEY EXERCISES 1-16 EXERCISE 11: 1. a 2. b 3. c 4. a 5. a 6. b 7. c 8. e 9. c 10. b 11. c 12. c 13. b 14. d 15. a 16. d 17. c 18. b 19. c 20. b 21. a 22. a 23. c 24. c 25. a EXERCISE 12: 1. c 2. a 3. e 4. a 5. c 6. e 7. e 8. e 9. a 10. d 11. d 12. d 13. a 14. a 15. a 16. b 17. b 18. b 19. e 20. e EXERCISE 13: 1. c 2. b 3. a 4. c 5. a 6. c EXERCISE 14: 1. c 2. a 3. c 4. d 5. d 6. a EXERCISE 15: 1. b 2. a 3. a 4. d 5. d 6. c EXERCISE 16: 1. b 2. a 3. a 4. c 5. c 6. d 36 Anapest. A foot of poetry with two unaccented syllables followed by one accented syllable. Example: disengage. LITERARY GLOSSARY A Anaphora. A type of repetition in which the same word or phrase is used at the beginning of two or more sentences or phrases. Alexandrine. A line of poetry written in iambic hexameter (six feet of iambs). Allegory. A story with both a literal and symbolic meaning. Anecdote. A brief personal story about an event or experience. Alliteration. The repetition of initial consonant or vowel sounds in two or more successive or nearby words. Example: fit and fearless; as accurate as the ancient author. Antagonist. A character, institution, group, or force that is in conflict with the protagonist. Antihero – A protagonist who does not have the traditional attributes of a hero. Allusion. A reference to a well-known person, place, event, work of art, myth, or religion. Example: Hercules, Eden, Waterloo, Prodigal Son, Superman. Antimetabole. A type of repetition in which the words in a successive clause or phrase are reversed. Example: “Ask not what your country can do for you but what you can do for your country.” John F. Kennedy. Amphibrach. A foot of poetry with an unaccented syllable, an accented syllable, and an unaccented syllable. Example: another Antiphrasis. The use of a word or phrases to mean the opposite of the intended meaning. Example: In Shakespeare’s Julius Caesar, Antony’s use of “. . . but Brutus is an honorable man . . .” to convey the opposite meaning. Amphimacer. A foot of poetry with an accented syllable, an unaccented syllable, and an accented syllable. Example: up and down. Anadiplosis. A type of repetition in which the last words of a sentence are used to begin the next sentence. Apostrophe. A figure of speech in which the speaker directly addresses an object, idea, or absent person. Example: Milton! thou should be living at this hour. (London, 1802 by William Wordsworth). Analogy. A comparison of two things that are somewhat alike. Example: But Marlow was not typical . . . to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze . . . Heart of Darkness by Joseph Conrad. Archetypes. Primordial images and symbols that occur in literature, myth, religion, and folklore. Examples: forest, moon, stars, earth mother. warrior, innocent child, wizard. 37 LITERARY GLOSSARY C A Cacophony. The unharmonious combination of words that sound harsh together. Aside. In drama, lines delivered by an actor to the audience as if the other actors on stage could not hear what he is saying. Caesura. A natural pause or break in a line of poetry. In scansion the symbol // is used to mark a caesura. Assonance. The repetition of vowel sounds in two or more words that do not rhyme. Example: The black cat scratched the saddle. Canto. A section of a long poem. Caricature. Writing that exaggerates or distorts personal qualities of an individual. Asyndeton. The omission of conjunctions in a series. Example: “ I came, I saw, I conquered.” Julius Caesar. Chiaroscuro. The contrasting of light and darkness. Cinquain. A five-line stanza. Atmosphere. The way that setting or landscape affects the tone or mood of a work. Classicism. A literary approach that imitates the literature and art of ancient Greece and Rome that stresses order, balance, reason, and idealism. B Ballad. A songlike poem that tells a story. Example: Barbara Allan. Climax. The high point in the plot, after which there is falling action. May coincide with crisis. Bathos. Sentimentality. Colloquialism. A local expression that is not accepted in formal speech or writing. Bildungsroman. A novel that deals with the coming of age or growing up of a young person from childhood or adolescence to maturity. Example: Pip in Great Expectations, Huckleberry Finn, or Luke Skywalker in Star Wars. Comedy. A work of literature that has a happy ending. Comic relief. Humorous action or lines spoken in a serious point in a play. Example: The Porter Scene in Macbeth, Act II, scene iii). Blank verse. Poetry written in unrhymed iambic pentameter. Example: Shakespeare plays. Burlesque. Low comedy, ridiculous exaggeration, nonsense. Conceit. In poetry, an unusual, elaborate comparison. Example: John Donne compares separated lovers to the legs of a drawing compass. 38 LITERARY GLOSSARY Denouement. The falling action or final revelations in the plot. C Description. Words that paint a picture of a person, place, or thing using details and sensory imagery. Concrete poem. A poem that takes the shape of its subject. Example: Easter Wings by George Herbert). Dialect. Regional speech that identifies a character’s social status. Conflict. The struggle between characters and other characters, forces of nature, or outside forces beyond their control, internal conflict within a character who struggles with moral choices and matters of conscience. Dialogue. Conversation between two or more characters. Diction. Word choice. Doppelganger. A look-alike, double, or twin. Example: Charles Darnay and Sydney Carton in A Tale of Two Cities. Connotation. The universal associations a word has apart from its definition. Example: Connotations of the word witch are: black cat, cauldron, Halloween, broomstick, and evil spell. Double entendre. A statement that has two meanings, one of which is suggestive, sexual, or improper. Consonance. The repetition of a consonant at the end of two or more words. Example: Hop up the step. Dramatic irony. When the reader or audience knows or understands something that a character does not know. Context. The words and phrases surrounding a word. Dramatic monologue. When a character speaks to a silent listener. Couplet. A pair of rhyming lines in the same meter. Dynamic character. A character who undergoes change as a result of the actions of the plot and the influence of other characters. Crisis. The point at which the protagonist experiences change, the turning point. Dysphemism. A coarse or rude way of saying something. The opposite of euphemism. Example: A euphemism for die would be pass away. A dysphemism would be croak. D Dactyl. A poetic foot with one accented syllable followed by two unaccented syllables. Example: multitude. Denotation. The definition or meaning of a word. 39 LITERARY GLOSSARY Ethos. Moral nature or beliefs. D Euphemism. An indirect way of saying something that may be offensive. Example: Passed away instead of died, senior citizens instead of old people. Dystopia. The opposite of utopia. Literally bad place. Examples of literature about dystopia include Anthem by Ayn Rand, 1984 by George Orwell, and Brave New World by Aldous Huxley. Existentialism. 20th century philosophy concerned with the plight of the individual who must assume responsibility for acts of free will. Characteristics are alienation, anxiety, loneliness, absurdity. Example: The Stranger by Albert Camus. E Elegy. A formal poem about death. Extended metaphor. A metaphor that is elaborated on and developed in several phrases or sentences. Elision. The omission of part of a word. Example: o’er for over, and e’re for ever. Extended personification. A personification that is elaborated on and developed in several phrases or sentences. Ellipsis. Three periods (. . .) that signify the omission of one or more words. Epic. A long narrative poem about the adventures of gods or a hero. Example: Beowulf, The Odyssey by Homer. Extended simile. A simile that is elaborated on and developed in several phrases or sentences. Epilogue. A concluding statement. F Epiphany. A sudden insight or change of heart that happens in an instant. Fantasy. A 20th century literary movement characterized by plots, characters, and settings not based in reality. Example: The Lord of the Rings trilogy by J.R.R. Tolkien). Epitaph. An inscription on a tomb or gravestone. Epithet. A word or phrase describing a quality of a person, place, or thing that is repeated throughout a work. Example: wine-dark sea in Homer’s The Iliad. Falling action. All action that takes place after the climax. Farce. Comedy that involves horseplay, mistaken identity, exaggeration, and witty dialogue. Example: The Comedy of Errors by William Shakespeare, The Importance of Being Earnest by Oscar Wilde. Essay. A short nonfiction work about a specific subject. Essays may be narrative, persuasive, descriptive, expository, or argumentative. Example: Nature by Ralph Waldo Emerson. 40 Hero/Heroine. The main character, the protagonist whose actions inspire and are admired. LITERARY GLOSSARY F Heroic couplet. In poetry, a rhymed pair of iambic pentameter lines. Fiction. Literature about imaginary characters and events. Homophone. A word that sounds like another word but has a different spelling. Example: see/sea, two/too, here/hear, fair/fare, threw/through. Figurative language. The use of figures of speech to express ideas. Figures of Speech. Include metaphor, simile, hyperbole, personification, and oxymoron. Hyperbole. A figure of speech that uses exaggeration. Example: Our chances are one in a million. I like this car ten times more than our other one. I will love you till the seas run dry. First person narration. The story is told from the point of view of one character. Example: David Copperfield by Charles Dickens, Huckleberry Finn by Mark Twain. I Iamb. A foot of poetry with one unaccented syllable followed by one accented syllable. Example: alone. Flashback. A plot device that allows the author to jump back in time prior to the opening scene. Flat character. A one-dimensional character who is not developed in the plot. See static character. Idiom. A saying or expression that cannot be translated literally. Example: jump down someone’s throat, smell a rat, jump the gun, bite the dust. Foil. A character who, through contrast, reveals the characteristics of another character. Dr. Watson is a foil to Sherlock Holmes. Inference. Information or action that is hinted at or suggested, but not stated outright. Interior monologue. A device associated with stream of consciousness where a character is thinking to himself and the reader feels like he is inside the character’s mind. Foreshadowing. A clue that prepares the reader for what will happen later on in the story. Free verse. Poetry that is not written in consistent patterns of rhyme or meter. Irony. The opposite of what is expected. A reality different from appearance. H Heptastich. A seven-line stanza. 41 Metaphor. A figure of speech in which one thing is said to be another thing. Example: Her eye of ice continued to dwell freezingly on mine. ( Jane Eyre by Charlotte Bronte). LITERARY GLOSSARY K Kenning. A kind of metaphor used in Anglo-Saxon poetry to replace a concrete noun. Example: In Beowulf the ship is called the ringed prow, the foamy-necked, and the sea-farer. Metaphysical poetry. A 17th century literary movement that includes English poets John Donne, George Herbert, and Andrew Marvell. Their poems featured intellectual playfulness, paradoxes, and elaborate conceits. L Meter. The rhythm in a line of poetry. The number and types of stresses or beats on syllables are counted as feet. Examples: monometer (one foot), dimeter (two feet), trimeter (three feet), tetrameter (four feet), pentameter (five feet), hexameter (six feet), and heptameter (seven feet). Legend. A tale or story that may or may not be based in fact, but which reflects cultural identity. Example: Legends about King Arthur, Robin Hood, and other folk heroes. Litotes. Understatement that makes a positive statement by using a negative opposite. Example: He’s not a bad singer. Metonymy. The use of an object closely associated with a word for the word itself. Example: Using crown to mean king, or oval office to mean president. Lyric poem. A poem that expresses the emotions and observations of a single speaker, including the elegy, ode, and sonnet. Mock epic. A poem about a silly or trivial matter written in a serious tone. Example: The Rape of the Lock by Alexander Pope. M Magical realism. In 20th century art and literature, when supernatural or magical events are accepted as being real by both character and audience. Example: One Hundred Years of Solitude by Gabriel Garcia Marquez. Monologue. A speech given by one person. Mood. Synonymous with atmosphere and tone. Motif. A recurring pattern of symbols, colors, events, allusions, or imagery. Malapropism. The use of a word somewhat like the one intended, but ridiculously wrong. Example: Huckleberry Finn’s use of diseased to mean deceased. Myth. A fictional tale about gods or heroes. Allusions to Greek, Roman, Norse, and Celtic myths are common in English literature. 42 LITERARY GLOSSARY N Onomatopoeia. A figure of speech that uses words to imitate sound. Example: clink, buzz, hum, splash, hiss, boom. Narrative poem. A poem that tells a story. Example: ballads (Barbara Allen) and epics (Beowulf, The Rime of the Ancient Mariner). Ottava rima. A stanza containing eight iambic pentameter lines with the rhyme scheme abababcc. Example: Sailing to Byzantium by William Butler Yeats. Narrator. The person telling the story. Oxymoron. A figure of speech that combines words that are opposites. Example: sweet sorrow, dark victory, jumbo shrimp. Naturalism. A late 19th century literary movement that viewed individuals as fated victims of natural laws. Example: To Build a Fire by Jack London. P Neoclassicism. A literary movement during the Restoration and 18th century (1660-1798) characterized by Greek and Roman literary forms, reason, harmony, restraint, and decorum. Parable. A story that teaches a lesson. Paradox. A statement that on the surface seems a contradiction, but that actually contains some truth. Example: For when I am weak, then I am strong. Saint Paul. Nonfiction. Prose writing about real people, places, things, or events. Paraphrase. The restatement of a phrase, sentence, or group of sentences using different words that mean the same as the original. Novel. A long work of fiction that has plot, characters, themes, symbols, and settings. Novella. A lengthy tale or short story. Parallelism. Arranging words and phrases consistently to express similar ideas. Example: I like to hike, fishing, and swimming. (Incorrect) I like hiking, fishing, and swimming. (Correct). O Octave. An eight-line stanza. Parataxis. Sentences, phrases, clauses, or words arranged in coordinate rather than subordinate construction. Example: Every little while he locked me in and went down to the store, three miles, to the ferry, and traded fish and game for whisky, and fetched it home and got drunk and had a good time, and licked me. (Huckleberry Finn by Mark Twain). Ode. A long, formal poem with three alternating stanza patterns: strophe, antistrophe, and epode. Omniscient narrator. When the narrator’s knowledge extends to the internal thoughts and states of mind of all characters. Example: The Pearl by John Steinbeck. 43 Picaresque. A story told in episodes where the protagonist has adventures and may be a rascal. Example: Huckleberry Finn by Mark Twain. LITERARY GLOSSARY P Parody. Witty writing that imitates and often ridicules another author’s style. Example: Ancient Mariner Dot Com is a parody of The Rime of the Ancient Mariner. Plot. The sequence of events in a story. Poetic devices. Words with harmonious sounds including assonance, consonance, alliteration, repetition, and rhyme. Pastoral. A poem set among shepherds or rural life. Point of view. The perspective from which a story is told. Pathos. Pity, sympathy, or sorrow felt by the reader in response to an author’s words. Polysyndeton. The overuse of conjunctions in a sentence. Pentameter. Five feet of verse in a poem. Postmodern. Contemporary fiction characterized by an antihero and experimental style. Peroration. The last lines of an oration in which the major points are summarized. Prose. Written language that is not poetry, drama, or song. Prose can be fiction or nonfiction. Persona. The voice in a work of literature. The persona may be the narrator or the author who uses the narrator to express ideas. Protagonist. The main character. Pun. A play on words. Example: He wanted to become a chef, but he didn’t have the thyme. Personification. A figure of speech that attributes human qualities to an inanimate object. Example: The wind sighed. The moon hid behind the clouds. Pyrrhic. A foot of poetry with two successive unaccented syllables. Example: unsinkable. Petrarchan sonnet. A sonnet divided into two parts: 8 line octave that rhymes abba abba, 6 line sestet that rhymes cde cde. The octave presents a situation or problem, and the sestet solves the problem. Also called an Italian sonnet. Q Quatrain. A four-line stanza. R Realism. Writing that is characterized by details of everyday life. 44 Romanticism. 18th-19th century literary movement that portrayed the beauty of untamed nature, emotion, the nobility of the common man, rights of the individual, spiritualism, folklore and myth, magic, imagination, and fancy. LITERARY GLOSSARY R Refrain. Regularly repeated line or group of lines in a poem or song. Regionalism. Writing about a specific geographic area using speech, folklore, beliefs, and customs. Round character. A complex character who undergoes change during the course of the story. Example: Sydney Carton in A Tale of Two Cities. Repartee. A comeback, a quick response. Run-on line. In poetry a line that does not stop, but continues to the next line. Repetition. A poetic device that uses the repeating of words, sounds, phrases, or sentences. S Sarcasm. A bitter remark intending to hurt and express disapproval. Rhetoric. The art of persuasion. Words used to persuade. Satire. Writing that blends humor and wit with criticism of institutions or mankind in general. Noted satirists include Chaucer, Dante, Voltaire, Moliere, Swift, and Twain. Rhyme. Words with identical sounds, but different spellings. Example: cat/hat, glare/air, tight/write. Rhyme scheme. The pattern of rhyming words. The last word in each line is assigned a letter of the alphabet beginning with a. Example: If the last words in each of four lines are me (a), grave (b), see (a), and save (b), the rhyme scheme is abab. Scansion. The process of determining the meter of a poem. Stressed syllables are marked with a slanted line over the sound. Unstressed syllables are marked with a horseshoe over the sound. When the pattern emerges, one can then determine the meter and number of feet in a line of poetry. Rising action. The path of the plot leading to the climax. Sensory imagery. Language that evokes images and triggers memories in the reader of the five senses: sight, sound, touch, taste, and smell. Romance. A story about distant, imagined events as opposed to realistic experience. Originally referred to medieval tales about knights and nobles. Modern usage refers to sentimental love stories. Sestet. A six-line stanza. Setting. The time and place where a story takes place. 45 Static character. A character who changes little in the course of the story. Example: Jerry Cruncher in A Tale of Two Cities, Tom Sawyer in Huckleberry Finn. LITERARY GLOSSARY S Shakespearean sonnet. A sonnet with three four-line quatrains and a two-line couplet that ends the poem and presents a concluding statement. The rhyme scheme is abab cdcd efef gg. Also called an English sonnet. Stream of Consciousness. A narrative technique that imitates the stream of thought in a character’s mind. Example: The Sound and the Fury by William Faulkner. Style. The individual way an author writes. Short story. A brief work of fiction with a simple plot, and few characters and settings. Subplot. A minor or secondary plot that complicates a story. Example: Mr. Micawber and his family in David Copperfield by Charles Dickens. Simile. A figure of speech that compares two things that are not alike, using the words like, as, or than. Example: eyes gleaming like live coals, as delicate as a snowflake, colder than ice. Surrealism. 20th century art, literature, and film that juxtaposes unnatural combinations of images for a fantastic or dreamlike effect. Soliloquy. A long speech made by a character who is alone, who reveals private thoughts and feelings to the reader or audience. Suspense. Anticipation of the outcome. Speaker. The imaginary voice that tells a poem. Symbol. Something that stands for something else. Example: the albatross (guilt) in The Rime of the Ancient Mariner; the handkerchief (infidelity) in Othello, the red letter A (adultery) in The Scarlet Letter. Spenserian stanza. A stanza with nine iambic lines rhymed ababbcbcc. All lines are pentameters except the last line written in hexameter or alexandrine. Synecdoche. A figure of speech in which the part symbolizes the whole. Example: All hands on deck, I’ve got some new wheels. Spondee. A foot of poetry with two equally strong stresses. Example: bathtub, workday, swing shift. Syntax. Word order, the way in which words are strung together. Sonnet. A fourteen-line lyric poem about a single theme. Stanza. Lines of poetry considered as a group. 46 LITERARY GLOSSARY U Understatement. Saying less than is actually called for. Example: referring to an Olympic sprinter as being pretty fast. T Tercet. A three-line stanza. Terza rima. A three-line stanza first used by Dante Alighieri in his The Divine Comedy. The first and last lines of each tercet rhyme. The middle line of the first tercet rhymes with the first and last lines of the next tercet, aba bcb cdc ded. Unreliable narrator. A narrator who is not credible when it comes to telling the story. Example: Chief Bromden in One Flew Over the Cuckoo’s Nest or Victor Frankenstein in Frankenstein. Theme. A central idea. W Third person narration. When a story is told by a voice from outside the story. Example: Ethan Frome by Edith Wharton. Wordplay. Verbal wit. Utopia. A perfect or ideal world. Tone. The attitude toward a subject or audience implied by a work of literature. Trochee. A foot of poetry consisting of one accented syllable followed by one unaccented syllable. Example: monkey Trancendentalism. A 19th century American philosophical and literary movement that promoted the belief that intuition and conscience transcend experience and are therefore better guides to truth than logic and the senses. Characteristics are respect for the individual spirit, the presence of the divine in nature, the belief that divine presence is everywhere (the Over-Soul, a concept influenced by Hinduism). Trope. In rhetoric, a figure of speech involving a change in meaning, the use of a word in a sense other than the literal. 47 GRAMMAR GLOSSARY Antecedent. A word or group of words that a pronoun refers to or replaces. Example: He had a conscience, and it was a romantic conscience. (Lord Jim by Joseph Conrad). A Abbreviation. A shortened form of a word, usually followed by a period. Example: Mr., Dr., U.S.A. Mrs. Bennet’s best comfort was that Mr. Bingley must be down again in summer. (Pride and Prejudice by Jane Austen). Apostrophe. A punctuation mark (‘) used in contractions to replace a letter, or added to the last letter of a noun followed by an s to indicate possession. Example: Don’t turn me out of doors to wander in the streets again. (Oliver Twist by Charles Dickens). Active voice. A verb is active if the subject of the sentence is performing the action. Example: Rikki-Tikki shook some of the dust out of his fur and sneezed. (Rikki-Tikki-Tavi by Rudyard Kipling). Appositive. A noun, pronoun, or phrase that identifies or extends information about another noun or pronoun in a sentence. Example: At the man’s heels trotted a dog, a big native husky, the proper wolf dog. (To Build a Fire by Jack London). Adjective. A word that describes. An adjective modifies a noun or pronoun. Example: Human madness is oftentimes a cunning and most feline thing. (Moby Dick by Herman Melville). C Capitalization. The following words are capitalized: brand names, business firms, calendar items, course names with numbers, first word of a direct quotation, first word of a line of poetry, first word of a sentence, geographical names, government bodies, historical events, institutions, interjections, languages, proper nouns, proper adjectives, races, religions, school subjects, seasons, special events, titles of persons, publications, works of art, movies, novels, plays, poems, short stories, screenplays, essays, and speeches, words referring to Deity, words showing family relationship. Example: The Pontelliers possessed a very charming home on Esplanade Street in New Orleans. (The Awakening by Kate Chopin). Adjective clause. A clause that modifies a noun or pronoun. Example: The mother who lay in the grave, was the mother of my infancy. (David Copperfield by Charles Dickens). Adverb. A word that describes a verb, explaining where, when, how, or to what extent. An adverb modifies a verb, adjective, or another adverb. Example: The time I spent upon the island is still so horrible a thought to me, that I must pass it lightly over. (Kidnapped by Robert Louis Stevenson). Adverb clause. A clause that modifies a verb, adjective, or another adverb. Example: As she kissed me, her lips felt like ice. (Wuthering Heights by Emily Bronte). 48 Comma. A punctuation mark (,) used after the salutation and closing of a letter, between parts of a compound sentence, in a series, after an introductory clause or prepositional phrase, to set off appositives and nonessential phrases and clauses, with coordinate adjectives, with dates and addresses, parenthetical expressions, quotation marks, and two or more adjectives. Example: They talked much of smoke, fire, and blood, but he could not tell how much might be lies. (The Red Badge of Courage by Stephen Crane). GRAMMAR GLOSSARY C Clause. A group of words that has a subject and a predicate. Clauses begin with the words: as, that, what, where, which, who, whose, until, since, although, though, if, than. Example: At seven in the morning we reached Hannibal, Missouri, where my boyhood was spent. (Life on the Mississippi by Mark Twain). Closing. In a letter, the words preceding the signature at the end of a letter. Example: Love, Best regards, Yours truly, Sincerely. Example: Your unworthy and unhappy friend, Henry Jekyll (Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson). Common noun. A word that names a person, place, or thing. Example: A night on the sea in an open boat is a long night. (The Open Boat by Stephen Crane). Complement. A word that completes the meaning of an active verb. (direct object, indirect object, predicate adjective, and predicate nominative. Collective noun. A singular noun that names a group of persons or things. Example: crowd, public, family, swarm, club, army, fleet, class, audience. As for the crew, all they knew was that I was appointed to take the ship home. (The Secret Sharer by Joseph Conrad). Complex sentence. One independent clause and one or more subordinate clauses. Example: About midnight, while we still sat up, the storm came rattling over the Heights in full fury. (Wuthering Heights by Emily Bronte). Colon: A punctuation mark (:) used after any expression meaning “note this.” Also used after the salutation in a business letter, before a list, between hour and minute, biblical chapters and verses, and volumes and pages. A colon never follows a verb or preposition. Example: I had three chairs in my house: one for solitude, two for friendship, three for society. (Walden by Henry David Thoreau). Compound adjective. An adjective formed by two words separated by a hyphen and treated as one word. Example: He is a sweet-tempered, amiable, charming man. (Pride and Prejudice by Jane Austen). 49 Compound subject: Two or more subjects that share the same verb. Example: Bartleby and I were alone. (Bartleby the Scrivener by Herman Melville). GRAMMAR GLOSSARY C Compound complement. Two or more words used as direct objects of the same verb, objects of the same preposition, predicate nominatives or predicate adjectives of the same verb, or indirect objects of the same understood preposition. Example: I have a rosy sky and a green flowery Eden in my brain. (Jane Eyre by Charlotte Bronte). Compound verb. Two or more verbs that share the same subject. Example: He rose, dressed, and went on deck. (Benito Cereno by Herman Melville). Conjunction. A word that connects words or groups of words. Examples: and, or, nor, but, yet, for, so. Every little while he locked me in and went down to the store, three miles, to the ferry, and traded fish and game for whisky, and fetched it home and got drunk and had a good time, and licked me. (Huckleberry Finn by Mark Twain). Compound-complex sentence. Two or more independent clauses and one or more subordinate clauses. Example: It is an honest town once more, and the man will have to rise early that catches it napping again. (The Man That Corrupted Hadleyburg by Mark Twain). Contraction. A word formed by combining two words, using an apostrophe to replace any missing letters. Example: Denmark’s a prison. (Hamlet by William Shakespeare). Compound noun. A noun composed of more than one word. Example: The kiss was a turning-point in Jude’s career. (Jude the Obscure by Thomas Hardy). D Compound preposition. A preposition composed of more than one word. Example: because of, on account of, in spite of, according to, instead of, out of. Example: The sun came up upon the left, out of the sea came he! (The Rime of the Ancient Mariner by Samuel Taylor Coleridge). Dash. A punctuation mark used to set off abrupt change in thought, an appositive, a parenthetical expression or an appositivethat contains commas. Example: My brother fired – once – twice – and the booming of the gong ceased. (The Lagoon by Joseph Conrad). Declarative sentence. A sentence that makes a statement. Example: I was born a slave on a plantation in Franklin County, Virginia. (Up From Slavery by Booker T. Washington). Compound sentence. A sentence consisting of two or more independent clauses. Example: I was now about twelve years old, and the thought of being a slave for life began to bear heavily upon my heart. (Narrative of the Life of Frederick Douglass). 50 Essential phrase or clause. Necessary to the meaning of a sentence and therefore not set off with commas. Also called restrictive. Example: Ethan was ashamed of the storm of jealousy in his breast. (Ethan Frome by Edith Wharton). GRAMMAR GLOSSARY D Demonstrative pronoun. A pronoun used to point out a specific person, place, thing, or idea. Example: this, that, these, those. This was the noblest Roman of them all. (Julius Caesar by William Shakespeare). Exclamation point. A punctuation mark (!) used after an interjection and at the end of an exclamatory sentence. Example: Scrooge, having no better answer ready on the spur of the moment, said “Bah!” again; and followed it up with “Humbug!” (A Christmas Carol by Charles Dickens). Dependent clause. Another name for subordinate clause. Direct object. A noun or pronoun that receives the action of the verb. Example: I sound my barbaric yawp over the roofs of the world. (Song of Myself by Walt Whitman). Exclamatory sentence. Expresses strong emotion and ends with an exclamation point. Example: O Romeo, Romeo, brave Mercutio is dead! (Romeo and Juliet by William Shakespeare). Direct quotation. The exact words spoken. Quotation marks are used before and after a direct quotation. Example: “I have the advantage of knowing your habits, my dear Watson,” said he. (The Crooked Man by Arthur Conan Doyle). Expletive. A word inserted in the subject position of a sentence that does not add to the sense of the thought. Example: There is only one thing in the world worse than being talked about, and that is not being talked about. (The Picture of Dorian Gray by Oscar Wilde). E G Elliptical clause. A subordinate clause in which a word or words are omitted, but understood. Example: I thought [that] the heart must burst. (The Tell-Tale Heart by Edgar Allan Poe). Gerund. A verbal ending in ing used as a noun. Example: Saying is one thing, and paying is another. (The Mayor of Casterbridge by Thomas Hardy). Ellipsis. A punctuation mark (. . .) indicating the omission of words or a pause. Example: “Oh! Ahab,” cried Starbuck . . . “See! Moby Dick seeks thee not.” (Moby Dick by Herman Melville). Gerund phrase. A gerund with all of its modifiers. Example: The coming of daylight dispelled his fears, but increased his loneliness. (White Fang by Jack London). 51 Independent clause. A clause that expresses a complete thought and can stand alone as a sentence. Example: The artist must possess the courageous soul that dares and defies. (The Awakening by Kate Chopin). GRAMMAR GLOSSARY H Helping verbs. A verb that precedes the main verb. Example: am, is, are, has have, had, shall, will, can, may, should, would, could might, must, do, did, does. And the Raven, never flitting, still is sitting, still is sitting on the pallid bust of Pallas just above my chamber door. (The Raven by Edgar Allan Poe). Indirect object. A noun or pronoun that precedes a direct object and answers the questions to or for whom? or to or for what? Example: The horse made me a sign to go in first. (Gulliver’s Travels by Jonathan Swift) Hyphen. Punctuation mark (-) used to divide words at the end of a line, between certain numbers (sixty-two), to separate compound nouns and adjectives, between some prefixes and suffixes and their root words. Example: Why didn’t you tell me there was danger in men-folk? (Tess of the D’Urbervilles by Thomas Hardy). Infinitive. A verbal that begins with to that is used as a noun, adjective, or adverb. Example: to walk, to read, to imagine. I sold the watch to get the money to buy your combs. (The Gift of the Magi by O. Henry). Infinitive phrase. An infinitive with its object and modifiers. Example: To see him leap and run and pursue me over hedge and ditch was the worst of nightmares. (Treasure Island by Robert Louis Stevenson). I Imperative sentence. A sentence that gives a command or makes a request. Example: Fetch me the handkerchief! (Othello by William Shakespeare). Interjection. A word that is used to express strong feeling that is not related grammatically to the rest of the sentence. Example: Oh! No mortal could support the horror of that countenance. (Frankenstein by Mary Shelley). Indefinite pronoun. A word that refers to an unnamed person or thing. Example: All, any, anybody, anything, both each, either everybody, everyone everything, few, many, most, neither, nobody, none no one, nothing, others, several, some someone, something. By the pricking of my thumbs, something wicked this way comes. (Macbeth by William Shakespeare). Interrogative sentence. A sentence that asks a questions and ends with a question mark. Example: Is there no pity sitting in the clouds that sees into the bottom of my grief? (Romeo and Juliet by William Shakespeare). Intransitive verb. A verb that does not require an object. Example: By degrees Rip’s awe and apprehension subsided. (Rip Van Winkle by Washington Irving). 52 GRAMMAR GLOSSARY N I Nominative pronoun. A pronoun used as a subject or predicate nominative. Example: I am a man more sinned against than sinning. (King Lear by William Shakespeare). Inverted order. A sentence that does not follow the typical order of subject-verb-object. Example: Work in the coal mine I always dreaded. (Up From Slavery by Booker T. Washington). Nonessential phrase or clause. Not necessary to the meaning of a sentence and therefore set off with commas. Also called nonrestrictive. Example: There stood, facing the open window, a comfortable, roomy armchair. (The Story of an Hour by Kate Chopin). Irregular verb. A verb that does not form the past tense or past participle by adding ed or d to the present tense. Example: But at night came his revelry: at night he closed his shutters, and made fast his doors, and drew out his gold. (Silas Marner by Geroge Eliot). Noun. A word that names a person, place, thing, or idea. Example: This time he was aware that it was the club, but his madness knew no caution. (The Call of the Wild by Jack London). L Linking verb. A verb that links the subject with a predicate nominative or a predicate adjective. Example: is, became, remain, look, appear, seem. Example: Miss Daisy Miller looked extremely innocent. (Daisy Miller by Henry James). Noun clause. A subordinate clause used as a subject, direct object, object of a preposition, appositive, or predicate nominative. Example: What saves us is efficiency – the devotion to efficiency. (Heart of Darkness by Joseph Conrad). Loose sentence. An independent clause followed by a dependent clause. Example: I didn’t go shopping because it was raining. O Object of preposition. The noun or pronoun with its modifiers that follows a preposition. Example: Along the Paris streets, the death-carts rumble hollow and harsh. (A Tale of Two Cities by Charles Dickens). M Modifiers. Words that describe or provide more meaning to a word. Modifiers include adjectives, adverbs, articles, prepositional phrases, verbals, and clauses. Objective case. Pronouns used as direct objects, indirect objects, or as objects of a preposition. Example: For he today that sheds his blood with me shall be my brother. (Henry V by William Shakespeare). 53 GRAMMAR GLOSSARY O Objective complement. A noun or adjective that renames or describes a direct object. Example: O God, I could be bounded in a nutshell and count myself a king of infinite space, were it not that I have bad dreams. (Hamlet by William Shakespeare). P Passive voice. Indicates that the subject receives the action of the verb in a sentence. Example: The red sun was pasted in the sky like a wafer. (The Red Badge of Courage by Stephen Crane). Period. A punctuation mark (.) used at the end of a declarative sentence or an abbreviation. Example: Such are the true facts of the death of Dr. Grimesby Roylott, of Stoke Moran. (The Adventure of the Speckled Band by Arthur Conan Doyle). Periodic sentence. A dependent clause followed by an independent clause. Example: Because it was raining, I didn’t go shopping. Parallelism. Arranging words and phrases consistently to express similar ideas. Example: I like to hike, fishing, and swimming. (Incorrect) I like hiking, fishing, and swimming. (Correct). Personal pronoun. Refers to a particular person, place, thing, or idea. Example: I, me, we, us, you, he, him, she, her, it, they, them. Parenthetical expression. Words that are not grammatically related to the rest of a sentence, set off by parentheses (( )). Example: He had passed his life in estimating people (it was part of the medical trade), and in nineteen cases out of twenty he was right. (Washington Square by Henry James). Phrase. A group of related words that do not have a subject or a verb. Example: Climbing to a high chamber, in a well of houses, he threw himself down in his clothes on a neglected bed, and its pillow was wet with wasted tears. (A Tale of Two Cities by Charles Dickens). Participial phrase. A participle with its modifiers and complements. Example: In the morning, looking into each other’s faces, they read their fate. (The Outcasts of Poker Flat by Bret Harte). Possessive pronoun. A pronoun form used to show ownership. Example: my, mine, our, ours, your, yours, his, hers, its, their, theirs. My Intended, my ivory ,my station, my river, my – everything belonged to him. (Heart of Darkness by Joseph Conrad). Participle. A verbal ending in ing, ed, d, or an irregular form that is used as an adjective. Example: I am not in the giving vein today. (Richard III by William Shakespeare). Predicate. A group of word or words that tells something about the subject. Example: Joe laid his hand upon my shoulder with the touch of a woman. (Great Expectations by Charles Dickens). Parts of Speech. The parts of speech are verb, noun, adjective, adverb, preposition, pronoun, interjection, and conjunction. 54 Pronoun. A word that takes the place of one or more nouns. Example: Do all men kill the things they do not love? (The Merchant of Venice by William Shakespeare). GRAMMAR GLOSSARY P Predicate adjective. An adjective that modifies the subject in a sentence with a linking verb. Example: No one is so thoroughly superstitious as the godless man. (Uncle Tom’s Cabin by Harriet Beecher Stowe). Proper adjective. A capitalized adjective formed from a proper noun. Example: I changed to the Illinois edge of the island to see what luck I could have, and I warn’t disappointed. (Huckleberry Finn by Mark Twain). Predicate nominative. A noun or pronoun that identifies, renames, or explains the subject in a sentence with a linking verb. Example: The scarlet letter was her passport into regions where other women dared not tread. (The Scarlet Letter by Nathaniel Hawthorne). Prefix. A word part added to the beginning of a word to change its basic meaning. Example: Do your work and you shall reinforce yourself. Reliance by Ralph Waldo Emerson). Proper noun. A capitalized noun that names a particular person, place, thing, or idea. Example: This is Inspector Newcomen of Scotland Yard. (Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson). Punctuation. Punctuation marks include apostrophe, colon, comma, dash, ellipsis, exclamation point, (Selfhyphen, period, question mark, quotation marks, and semicolon. Preposition. A word that shows the relationship between a noun or pronoun and another word in a sentence. Example: I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body. (Frankenstein by Mary Shelley). Q Question mark. A punctuation mark (?) used to indicate a question or to end an interrogative sentence. Example: Who in the rainbow can show the line where the violet tint ends and the orange tint begins? (Billy Budd by Herman Melville). Prepositional phrase. A group of words that begins with a preposition, ends with a noun or pronoun, and is used as an adjective or an adverb. Example: The mass of men lead lives of quiet desperation. (Walden by Henry David Thoreau). Quotation mark. Punctuation mark (‘) used to enclose a quotation or title within a quotation. Example: “There’s a charming piece of music by Handel called ‘The Harmonious Blacksmith.’” (Great Expectations by Charles Dickens). 55 GRAMMAR GLOSSARY Restrictive phrase or clause. Another name for essential phrase or clause. Q S Quotation marks. Punctuation mark (“) used at the beginning and end of a direct quotation, to enclose titles of art works, chapters, articles, short stories, poems, songs, and other parts of books or magazines. Example: Here in Milan, in an ancient tumbledown ruin of a church, is the mournful wreck of the most celebrated painting in the world – “The Last Supper,” by Leonardo da Vinci. (The Innocents Abroad by Mark Twain). Salutation. The opening greeting that comes before the body of a letter. Use a comma after the salutation in a friendly letter and a colon after the salutation in a business letter. My Dear Victor, (Frankenstein by Mary Shelley). Semicolon. A punctuation mark (;) used to separate the independent clauses of a compound sentence that are not joined by conjunctions, before certain transitional words (however, furthermore, moreover, therefore, etc.), and between items in a series if the items contain commas. Example: Cowards die many times before their deaths; the valiant never taste of death but once. (Julius Caesar by William Shakespeare). R Reflexive pronoun. A pronoun formed by adding self or selves to a personal pronoun. Example: myself, yourself, himself, herself, itself, ourselves, yourselves, themselves. The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings. (Julius Caesar by William Shakespeare). Sentence. A group of words with a subject and a verb that expresses a complete thought. Example: The odor of the sharp steel forced itself into my nostrils. (The Pit and the Pendulum by Edgar Allan Poe). Regular verb. A verb that forms its past tense and past participle by adding ed or d to the present tense. Example: He ordered me like a dog, and I obeyed like a dog. (David Copperfield by Charles Dickens). Sentence fragment. A group of words that lacks either a subject or a verb that does not express a complete thought. Example: Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner! (A Christmas Carol by Charles Dickens). Relative pronoun. A pronoun that relates an adjective clause to its antecedent. Example: who, whom, whose, which, that. Note: Adjective clauses sometimes begin with where and when. Example: There was things which he stretched, but mainly he told the truth. (Huckleberry Finn by Mark Twain). Series. Three or more words or phrases in succession separated by commas or semicolons. Example: At a table he sat and consumed beefsteak, flapjacks, doughnuts, and pie. (The Cop and the Anthem by O. Henry). 56 GRAMMAR GLOSSARY T Tense. The form a verb takes to show time. Example: present, past, future, present perfect, past perfect, and future perfect. Example: We will have rings and things and fine array. (The Taming of the Shrew by William Shakespeare). S Simple predicate. The verb. The main word or phrase in the complete predicate. Example: This cold night will turn us all to fools and madmen. (King Lear by William Shakespeare). Transitive verb. An action verb that requires an object. Example: Vanity, working on a weak head, produces every sort of mischief. (Emma by Jane Austen). Simple sentence. A sentence that is one independent clause. Example: Tom appeared on the sidewalk with a bucket of whitewash and a long-handled brush. (Tom Sawyer by Mark Twain). U Subject. A word or group of words that names the person, place, thing, or idea the sentence is about. Example: A long, low moan, indescribably sad, swept over the moor. (The Hound of the Baskervilles by Arthur Conan Doyle). Understood subject. A subject that is understood rather than stated. Example: [You] Give me the worst first. (A Tale of Two Cities by Charles Dickens). Subordinate clause. A clause that cannot stand alone as a sentence because it does not express a complete thought. Also called a dependent clause. Example: As Ichabod approached this fearful tree, he began to whistle. (The Legend of Sleepy Hollow by Washington Irving). Verb. A word or words that show the action in the sentence and tell what the subject is doing. Example: A girl learns many things in a New England village. (The House of the Seven Gables by Nathaniel Hawthorne). V Verbal. A verb form used as some other part of speech. The three verbals are: participles, gerunds, and infinitives. Suffix. A word part added to the end of a word that changes its meaning. Example: A minority is powerless while it conforms to the majority. (Civil Disobedience by Henry David Thoreau). Verbal phrase. The main verb plus one or more helping verbs. Example: would have made, will be going, should do. After such a fall as this, I shall think nothing of tumbling downstairs! (Alice’s Adventures in Wonderland by Lewis Carroll. 57