Multiple Choice Questions one set per group 40 pts.

Each group must choose a passage or passages from the text and create multiple choice AP Lit style questions and answers for the text. The idea is that you work together to figure out questions and answers discussion is a large part of the purpose of this assignment. Create twice as many questions as there are group mem ers. !ou must include the text of the passages "and page num ers# tested as well as the questions. !ou must include a key with the correct answers. Two question types required are elow. !ou may ha$e more than one of these two types% ut you must ha$e at least one of each. The remainder of questions can follow other models. o &esign at least one question that addresses tone or author's attitude. (ee )*% +,% or +elow. o &esign at least one question that requires the reader to identify the purpose of a specific portion of the passage or the purpose of the passage as a whole. !ou may design only one of the following type of questions "though you are not required to design any of these types#. o /nly one 0except1 type stem. Ex. "ALL of the following EXCEPT." o /nly one question that requires the reader to identify a synonym for a specified word used in the passage. Ex. (ee question )2 elow. o /nly one that requires the reader to identify the antecedent of a pronoun. 3hich of the following is the grammatical antecedent of 4it4 "line 55#6 Each question needs to have 5 answers, with one of the answers eing the ! est" answer #even if other answers are !right"$. 7e sure your answer"s# and distracter"s# are sensi le. 8ake all the choices parallel. 7e prepared to support your answer. (u mit all questions as one typed document. 9ust print a typed copy no turnitin.com. %ue &ove' er ()th.

Sample Multiple-Choice Questions from the College Board so that you can have a model for a passage length and question types
Questions 113. Read the following passage carefully before you choose your answers. Mr. Jones, of whose personal accomplishments we have hitherto said very little, was, in reality, one of the handsomest young fellows in the world. His face, besides being the picture of health, had in it the most apparent marks of sweetness and good-nature. These ualities were indeed so characteristical in his countenance, that, while the spirit and sensibility in his eyes, though they must have been perceived by an accurate observer, might have escaped the notice of the less discerning, so strongly was this good-nature painted in his look, that it was remarked by almost every one who saw him. !t was, perhaps, as much owing to this as to a very fine comple"ion that his face had a delicacy in it almost ine"pressible, and which might have given him an air rather too effeminate, had it not been #oined to a most masculine person and mien$ which latter had as much in them of the Hercules as the former had of the %donis. He was besides active, genteel, gay and good-humoured, and had a flow of animal spirits which enlivened every conversation where he was present. &hen the reader hath duly reflected on these many charms which all centered in our hero, and considers at the same time the fresh obligations which Mrs. &aters had to him, it will be a mark more of prudery than candour to entertain a bad opinion of her because she conceived a very good opinion of him. 'ut, whatever censures may be passed upon her, it is my business to relate matters of fact with veracity. Mrs. &aters had, in truth, not only a good opinion of our hero, but a very great affection for him. To speak out boldly at once, she was in love, according to the present universally received sense of that phrase, by which love is applied indiscriminately to the desirable ob#ects of all our passions, appetites, and senses, and is understood to be that preference which we give to one kind of food rather than to another. 'ut though the love to these several ob#ects may possibly be one and the same in all cases, its operations, however, must be allowed to be different( for, how much soever we may be in love with an e"cellent sirloin of beef, or bottle of 'urgundy( with a damask rose, or )remona fiddle( yet do we never smile, nor ogle, nor dress, nor flatter, nor endeavour by any

other arts or tricks to gain the affection of the said beef, etc. *igh indeed we sometimes may( but it is generally in the absence, not in the presence, of the beloved ob#ect. . . . The contrary happens in that love which operates between persons of the same species, but of different se"es. Here we are no sooner in love than it becomes our principal care to engage the affection of the ob#ect beloved. +or what other purpose, indeed, are our youth instructed in all of the arts of rendering themselves agreeable, !f it was not with a view to this love, ! uestion whether any of those trades which deal in setting off and adorning the human person would procure a livelihood. -ay, those great polishers of our manners, who are by some thought to teach what principally distinguishes us from the brute creation, even dancing- masters themselves, might possibly find no place in society. !n short, all the graces which young ladies and young gentlemen too learn from others, and the many improvements which, by the help of a looking-glass, they add of their own, are in reality those very spicula et faces amoris. so often mentioned by /vid( or, as they are sometimes called in our own language, the whole artillery of love. 0. The structure of the sentence beginning in line 1 does which of the following, 2a3 !t stresses the variety of Mr. Jones4s personal attributes. 2b3 !t implies that Mr. Jones is a less complicated personality than the speaker suggests. 2c3 !t disguises the prominence of Mr. Jones4s sensitive nature and emphasi5es his less readily discerned traits. 2d3 !t reflects the failure of some observers to recogni5e Mr. Jones4s spirit and sensibility. 2e3 !t belies the straightforward assertion made in the previous sentence. 6. !n conte"t, the word 7sensibility44 2line 83 is best interpreted to mean 2a3 self-esteem 2b3 forthright and honest nature 2c3 capacity to observe accurately 2d3 ability to ignore the unimportant 2e3 awareness and responsiveness 9. The first two paragraphs indicate that the speaker assumes that 2a3 accurate observers of human nature are rare 2b3 spirited and sensible people are by nature rather effeminate 2c3 a person4s character can be accurately discerned from his or her outward appearance 2d3 a correlation e"ists between an individual4s 7personal accomplishments44 2line 03 and his or her physical prowess 2e3 good-naturedness in a person is usually not readily apparent :. The shift in the speaker4s rhetorical stance from the first sentence of the second paragraph 2lines 00;083 to the second sentence 2lines 08;0<3 can best be described as one from 2a3 sub#ective to ob#ective 2b3 speculative to assertive 2c3 discursive to laconic 2d3 critical to descriptive 2e3 literal to figurative 1. The word 7former44 in line 01 refers to 2a3 7face44 2line 063 2b3 7delicacy44 2line 063 2c3 7air44 2line 093 2d3 7person44 2line 0:3 2e3 7mien44 2line 0:3 8. The speaker4s allusion to Hercules and %donis 2lines 01;083 serves primarily to 2a3 imply an undercurrent of aggressiveness in Mr. Jones4s personality 2b3 suggest the e"tremes of physical attractiveness represented in Mr. Jones4s appearance

2c3 assert the enduring significance of mythical beauty 2d3 symboli5e the indescribable nature of Mr. Jones4s countenance 2e3 emphasi5e how clearly Mr. Jones4s features reflected his personality =. The use of the phrase 7it will be44 in line 60 indicates that the speaker 2a3 wishes the reader to arrive at the same conclusion regarding Mrs. &aters as the speaker has 2b3 believes the presentation of Mr. Jones before this passage to have been predominantly negative 2c3 e"pects that the description of Mr. Jones will offend some of the more conservative readers 2d3 regards Mrs. &aters4 #udgment concerning Mr. Jones to be impulsive rather than sincere 2e3 fears that the readers will be overly lenient in their #udgment of Mrs. &aters <. The style of the third paragraph differs from that of the first and second paragraphs in that it is 2a3 instructive rather than descriptive 2b3 argumentative rather than e"pository 2c3 interpretative rather than metaphorical 2d3 ob#ective rather than representational 2e3 conversational rather than analytical >. !n the fourth paragraph, the speaker establishes the predominant tone for the rest of the passage primarily by 2a3 e"aggerating the affection Mrs. &aters has for Mr. Jones 2b3 contrasting the popular understanding of love with the speaker4s own view of love 2c3 describing candidly the affection Mrs. &aters has for Mr. Jones 2d3 likening the popular conception of love to people4s physical appetites 2e3 insisting on the veracity of the speaker4s personal opinions concerning Mrs. &aters 0?. The speaker4s attitude toward 7dancing-masters44 2lines 1?;103 might best be described as 2a3 assumed arrogance 2b3 grudging respect 2c3 feigned bitterness 2d3 sarcastic vindictiveness 2e3 wry disdain 00. The passage indicates that the speaker believes which of the following to be true of Mr. Jones, 2a3 He is principally concerned with attracting the attention of women. 2b3 He is naturally suited to engage the affections of women. 2c3 He has practiced e"tensively the arts and graces with which youths render themselves agreeable. 2d3 He is too good-natured to make full use of 7the whole artillery of love44 2lines 18;1=3. 2e3 He has cultivated his good nature and sensibility in order to compete well with other men. 06. The final metaphors of the last paragraph 2lines 1:;1=3 suggest that this passage most probably precedes a description of 2a3 the way in which Mr. Jones ac uired his manners and good-nature 2b3 a costume ball at which Mr. Jones and Mrs. &aters meet and dance 2c3 a scene in which Mr. Jones prepares himself for a meeting with Mrs. &aters

2d3 an attempt by Mr. Jones to engage the affections of Mrs. &aters with the help of classical love poetry 2e3 an encounter between Mr. Jones and Mrs. &aters couched in the terminology of war 09. The speaker4s tone in the passage can best be described as which of the following, 2a3 +lippant 2b3 &himsical 2c3 @retentious 2d3 *atirical 2e3 )ontemptuous
%nswers are on last page. COMMON TYPES OF QUESTIONS 1. Situation who? to whom? (poetry) subje t of !r" P#r#gr#ph (prose) 2. Structure wh#t wor" in $$$$$$ rel#tes b# % to $$$$$$ wh#t "i&isions represent its stru ture prose' how one p#r#gr#ph rel#tes to #nother progression of thought #n" o&er#ll stru ture 3. Theme whole #n" p#rts 4. Grammar an !or Meanin" pronoun referen es(#nte e"ents p#r#phr#se wor" hoi e prose' subje t of long senten e is) #. $iction prose' hoi e of &erbs in p#r#gr#ph * suggests $$$$$$$ spe#%er+s #nger is implie" by $$$$$$$$ %. Ima"e&' Fi"urati(e )an"ua"e' *iterar+ Techni,ue whi h one? ,here else in wor%? Purpose of # met#phor #n#logy in -n" p#r#gr#ph -. Tone .. /hetoric fun tion of l#st senten e effe t of shift in point of &iew $IFFICU*TY *E0E* OF QUESTIONS 1. F1CTU1* phr#se presents e.#mple of) #ll #re /igur#ti&e l#ngu#ge e. ept 0#n in line $$$ is pi ture" m#inly in his role #s $$$ in line $$$ the $$$ is seen hiefly #s ) in line $$$ the spe#%er reg#r"s himself #s ) beginning in $$$ spe#%er "oes whi h ) e. erpt is written in ) # or"ing to the spe#%er1 ) 2they3 in line $$$ refers to ) the obje t of 2to3 in line $$$ is ) 2. M1IN I$E1 $$$$$$ h#te" $$$$$$ be #use $$$$$ p#r#ble of $$$$$$$ ser&es to $$$$$$$ $$$$$$$ belie&e" hum#n n#ture is $$$$$$$$ whi h best "es ribes $$$$$$ #t the en" tone whi h "es ribes how $$$$ felt #bout ) p#ss#ge is on erne" with ) rel#tion between line $$$$ #n" line $$$ is best "es ribe" #s ) m#in point #bout $$$ is ) line $$$ spe#%er #ttempts to ) style is h#r# teri4e" by ) irony rests hiefly on $$$$$$ 3. 2I$$EN I$E1 $$$$ interprete" to me#n phr#se e&o%es $$$$$$ im#ge of $$$$$$$ refers to ) $$$$$$$$ most li%ely represents $$$$$$ #n be inferre" in line $$$ the phr#se 2 $$$$3 me#ns $$$$$ line $$$ suggests th#t ) #n be inferre" spe#%er woul" #gree with )

/E1SONS 1NS!E/S 1/E !/ONG 5. 6rrele&#nt to the 7uestion -. Contr#"i tory to the p#ss#ge !. 8nre#son#ble (the 29uh?3 hoi e) *. Too gener#l or too spe ifi :. ;e&er #""resse" in the p#ss#ge <. Loo% for the =PEC6/6C ,>?@= th#t m#%e the #nswer wrong A. 6ntention#l "istr# ters' ?emember the "ifferen e between # right #nswer #n" the BE=T ( re"ite") #nswer. 0ore th#n one #n be rightC loo% for the best.

Rhetorical Analysis / Close Reading:

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ypical Multiple-Choice Stems

What is the author's attitude toward the subject of the essay? What is this passage about? What does the phrase, ______________, mean? ow is the sty!e of the passage best characteri"ed? Which of the fo!!owing best summari"es the main point in !ines _____? What is the main point in _____? %the passage, the second paragraph, etc.&

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ow wou!d you restate the meaning of _______________? ow wou!d you define the phrase ___________? What is the spea*er+s purpose in _____________? What thought is ref!ected in the a!!usion ____________? What is the tone of the passage? ow wou!d you define the word ____________? ow wou!d you describe the diction and sty!e of the passage? -n !ines _____, what is the spea*er asserting? Why is ___________ described as __________? What is significant about the structure of sentence .____ in !ines ____? -n sentences _____, what contrasts are de/e!oped or imp!ied? -n !ines ________, why does the author pair 0uotations? -n !ines ________, what is the effect of pairing 0uotations? What is the dominant techni0ue used in !ines ______? -n !ines ______, what is the effect of using a metaphor? -n !ines _____, ju1taposing _________ and ___________ ser/es the purpose of ________________. What does the spea*er accomp!ish in using __________? 2y using the words _______, the spea*er shows the be!ief that _____. -n !ines _____, how is the spea*er portrayed? 3he shift in point of /iew from...has the effect of... What is the theme of the ____________ %e.g., second paragraph, who!e piece&? -n !ines ____, the passage shifts from _________ to __________. Why does the author represent _______________ as ______________ in !ines ____? What is the purpose of the synta1 in sentence _____? What does __________________ symbo!i"e in !ines ____? 3he spea*er's attitude toward ___________ is best described as one of _________________. -n _____, the author is asserting that __________________. 3he term _____ con/eys the spea*er's be!ief that ______________. 3he spea*er assumes that the audience's attitude toward ____________wi!! be one of ____________. -n the _______ %e.g., first, second, !ast& paragraph, the spea*er see*s to interest us in the subjects of the discussion by stressing the __________. -t can be inferred by ____________ that __________________. 3he ________ %e.g., first, second& sentence is unified by metaphorica! references pertaining to _________________. 3he spea*er's mention of _________is appropriate to the de/e!opment of the argument as an i!!ustration of ______________. 4s the sentence in !ines _____ is constructed, _____________ is para!!e! to ___________________. -t can be inferred from the description of __________ that the 0ua!ities of ______________ are /a!ued by the spea*er. 4ccording to the passage, ___________ is ____________ because ______________________________. -n the conte1t of the passage, __________is best interpreted as ______. 5entence _________ is best described as _______________. 3he antecedent for ________in !ine ________is ________. What type of argument does the writer emp!oy in !ines ______? Why does the spea*er use the se0uence of ideas in !ines _____? We can infer from ______________ that __________________. What pattern of e1position does the writer use in this passage? What is the point of /iew in this passage6poem?

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What is the purpose of the statement in !ines _____? What atmosphere or mood is estab!ished in !ines _______? 3he _______ %e.g., first, fourth& sentence is coherent because of its use of _______________. What 0ua!ities are present in the scene described in !ines _____? What words and detai!s suggest a _________ %adjecti/e& attitude on the part of the author? -n !ine _______, the use of __________instead of ___________accomp!ishes _____________. -n !ine__________, the author emphasi"es _______because he6she_______. 3he use of _________suggests that ____________. What is the function of the __________ %sentence, detai!, c!ause, phrase, and so on& in !ines _______? 3he subject of the sentence in !ines _________is ________. What assertions does the author ma*e in the passage, and what is his6her purpose in doing this? 2y ________, the author most probab!y means ______. What meanings are contained in the word ______ in !ine _____? What can we infer from the passage about _________________________? 3he author apparent!y be!ie/es that __________________________. -n !ines________, the phrase_________ is used to refer to _______. 3he author be!ie/es that we shou!d_______________________________. 3he _________ %e.g., first, !ast, third& sentence of the passage is chief!y remar*ab!e for its____________________________________. What does the author want to encourage in a person? What is the function of ______________ in re!ation to __________? 1;a 8;b =;a <;a >;d 0? ; e 00 ; b 06 ; e 09 ; d