(1) During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country, and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. (2) I know not how it was—but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. (3) I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. (4) I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil.

What literary technique can be seen in the following phrase? “During the whole of a dull, dark, and soundless day in the autumn of the year…”

 (1) During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country, and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. (2) I know not how it was—but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. (3) I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. (4) I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil.

What literary technique can be seen throughout sentence 4?

[1] One Saturday evening, at a time when he had not yet gone into housekeeping with Mademoiselle Mimi, who will shortly make her appearance, Rodolphe made the acquaintance at the table he frequented of a ladies' wardrobe keeper, named Mademoiselle Laure. [2] Having learned that he was editor of "The Scarf of Iris" and of "The Beaver," two fashion papers, the milliner, in hope of getting her goods puffed, commenced a series of significant provocations. [3] To these provocations Rodolphe replied by a pyrotechnical display of madrigals, sufficient to make Benserade, Voiture, and all other dealers in the fireworks of gallantry jealous; and at the end of the dinner, Mademoiselle Laure, having learned that he was a poet, gave him clearly to understand that she was not indisposed to accept him as her Petrarch. [4] She even, without circumlocution, made an appointment with him for the next day.

Which sentence contains the clearest example of prolepsis?

One Saturday evening, at a time when he had not yet gone into housekeeping with Mademoiselle Mimi, who will shortly make her appearance, Rodolphe made the acquaintance at the table he frequented of a ladies' wardrobe keeper, named Mademoiselle Laure. Having learned that he was editor of "The Scarf of Iris" and of "The Beaver," two fashion papers, the milliner, in hope of getting her goods puffed, commenced a series of significant provocations. To these provocations Rodolphe replied by a pyrotechnical display of madrigals, sufficient to make Benserade, Voiture, and all other dealers in the fireworks of gallantry jealous; and at the end of the dinner, Mademoiselle Laure, having learned that he was a poet, gave him clearly to understand that she was not indisposed to accept him as her Petrarch. She even, without circumlocution, made an appointment with him for the next day.

Which sentence in the passage contains the clearest example of allusion?

From the dim woods on either bank, Night’s ghostly army, the grey shadows, creep out with noiseless tread to chase away the lingering rear-guard of the light, and pass, with noiseless, unseen feet, above the waving river-grass, and through the sighing rushes; and Night, upon her sombre throne, folds her black wings above the darkening world, and, from her phantom palace, lit by the pale stars, reigns in stillness.

Then we run our little boat into some quiet nook, and the tent is pitched, and the frugal supper cooked and eaten. Then the big pipes are filled and lighted, and the pleasant chat goes round in musical undertone; while, in the pauses of our talk, the river, playing round the boat, prattles strange old tales and secrets, sings low the old child’s song that it has sung so many thousand years...

Harris said: “How about when it rained?”

You can never rouse Harris. There is no poetry about Harris—no wild yearning for the unattainable. Harris never “weeps, he knows not why.” If Harris’s eyes fill with tears, you can bet it is because Harris has been eating raw onions, or has put too much Worcester over his chop.

Sentences 1 and 2 are an example of what literary device?

(1) We had taken up an oil-stove once, but “never again.” (2) It had been like living in an oil-shop that week. (3) It oozed. (4) I never saw such a thing as paraffin oil is to ooze. (5) We kept it in the nose of the boat, and, from there, it oozed down to the rudder, impregnating the whole boat and everything in it on its way, and it oozed over the river, and saturated the scenery and spoilt the atmosphere. (6) Sometimes a westerly oily wind blew, and at other times an easterly oily wind, and sometimes it blew a northerly oily wind, and maybe a southerly oily wind; but whether it came from the Arctic snows, or was raised in the waste of the desert sands, it came alike to us laden with the fragrance of paraffin oil.

(7) And that oil oozed up and ruined the sunset; and as for the moonbeams, they positively reeked of paraffin.

Sentence 6 contains an example of which literary device?

(1) We had taken up an oil-stove once, but “never again.” (2) It had been like living in an oil-shop that week. (3) It oozed. (4) I never saw such a thing as paraffin oil is to ooze. (5) We kept it in the nose of the boat, and, from there, it oozed down to the rudder, impregnating the whole boat and everything in it on its way, and it oozed over the river, and saturated the scenery and spoilt the atmosphere. (6) Sometimes a westerly oily wind blew, and at other times an easterly oily wind, and sometimes it blew a northerly oily wind, and maybe a southerly oily wind; but whether it came from the Arctic snows, or was raised in the waste of the desert sands, it came alike to us laden with the fragrance of paraffin oil.

(7) And that oil oozed up and ruined the sunset; and as for the moonbeams, they positively reeked of paraffin.

Sentence 7 contains an example of which literary device?

From the dim woods on either bank, Night’s ghostly army, the grey shadows, creep out with noiseless tread to chase away the lingering rear-guard of the light, and pass, with noiseless, unseen feet, above the waving river-grass, and through the sighing rushes; and Night, upon her sombre throne, folds her black wings above the darkening world, and, from her phantom palace, lit by the pale stars, reigns in stillness.

Then we run our little boat into some quiet nook, and the tent is pitched, and the frugal supper cooked and eaten. Then the big pipes are filled and lighted, and the pleasant chat goes round in musical undertone; while, in the pauses of our talk, the river, playing round the boat, prattles strange old tales and secrets, sings low the old child’s song that it has sung so many thousand years...

Harris said: “How about when it rained?”

You can never rouse Harris. There is no poetry about Harris—no wild yearning for the unattainable. Harris never “weeps, he knows not why.” If Harris’s eyes fill with tears, you can bet it is because Harris has been eating raw onions, or has put too much Worcester over his chop.

What literary device can be seen in paragraph 1?

From the dim woods on either bank, Night’s ghostly army, the grey shadows, creep out with noiseless tread to chase away the lingering rear-guard of the light, and pass, with noiseless, unseen feet, above the waving river-grass, and through the sighing rushes; and Night, upon her sombre throne, folds her black wings above the darkening world, and, from her phantom palace, lit by the pale stars, reigns in stillness.

Then we run our little boat into some quiet nook, and the tent is pitched, and the frugal supper cooked and eaten. Then the big pipes are filled and lighted, and the pleasant chat goes round in musical undertone; while, in the pauses of our talk, the river, playing round the boat, prattles strange old tales and secrets, sings low the old child’s song that it has sung so many thousand years...

Harris said: “How about when it rained?”

You can never rouse Harris. There is no poetry about Harris—no wild yearning for the unattainable. Harris never “weeps, he knows not why.” If Harris’s eyes fill with tears, you can bet it is because Harris has been eating raw onions, or has put too much Worcester over his chop.

What technique occurs between the first and second halves of this passage?

When in the Course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature’s God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.

We hold these truths to be self-evident, that all men are created equal; that they are endowed by their Creator with certain unalienable rights; that among these are Life, Liberty, and the pursuit of Happiness; that, to secure these rights, governments are instituted among Men, deriving their just powers from the consent of the governed; that whenever any form of government becomes destructive of these ends, it is the right of the people to alter or to abolish it, and to institute new government, laying its foundation on such principles, and organizing its powers in such form, as to them shall seem most likely to effect their safety and happiness. Prudence, indeed, will dictate that governments long established should not be changed for light and transient causes; and accordingly all experience hath shown that mankind are more disposed to suffer, while evils are sufferable than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same object, evinces a design to reduce them under absolute despotism, it is their right, it is their duty, to throw off such government, and to provide new guards for their future security. Such has been the patient sufferance of these colonies; and such is now the necessity which constrains them to alter their former systems of government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute tyranny over these states. To prove this, let facts be submitted to a candid world.

(1776)

The second paragraph consistently makes use of _________________.