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The fifth paragraph ("There . . . cribbing from") indicates that Richard has
imagined an array of stories about Selena
The diction in the second through fourth sentences of the sixth paragraph ("old pre-Depression . . . offered him") primarily helps to reveal Richard's
entrenched disdain for his past
The distinction made in the fourth sentence of the second paragraph between "garments" and "clothes" is best described as the
unusual versus the ordinary
In the context of the passage as a whole, the tone of the question in the first sentence ("How . . . here") is best described as
contemplative
The information about Selena's name in the first and second sentences of the ninth paragraph ("Selena . . . identity") suggests that Selena is most likely
bold and purposeful
The second and third sentences of the second paragraph ("Sometimes . . . torches") are characterized by the use of
visual imagery
The primary significance in the passage of the name "Marjorie" in the third sentence of the ninth paragraph ("Selena . . . forget it") is that it
mars the perfection of an image that Richard has created
The fifth paragraph ("There . . . cribbing from") marks a transition in the passage from the
fanciful to the real