Multiple Choice QuestionsRead the peom and answer the following questions.
I must go down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel's kick and the wind's song and the white sail's shaking,
And a gray mist on the sea's face and a gray dawn breaking.
I must go down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied ;
And all I ask is a windy day with the white clouds flying,
And the flung spray all the blown spume and the seagulls crying.
I must go down to the seas again to the vagrant gypsy life.
To the gull's way and the whale's way where the wind's like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick's over.
Which figure of speech is used in 'where the wind is like a whetted knife'?
Personification
Transferred Epithet
Metaphor
Simile
Read the peom and answer the following questions.
I must go down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel's kick and the wind's song and the white sail's shaking,
And a gray mist on the sea's face and a gray dawn breaking.
I must go down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied ;
And all I ask is a windy day with the white clouds flying,
And the flung spray all the blown spume and the seagulls crying.
I must go down to the seas again to the vagrant gypsy life.
To the gull's way and the whale's way where the wind's like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick's over.
The phrase 'a merry yarn' in the poem is an example of
Assonance
Simile
Transferred Epithet
Metaphor
A.
Assonance
Read the peom and answer the following questions.
I must go down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel's kick and the wind's song and the white sail's shaking,
And a gray mist on the sea's face and a gray dawn breaking.
I must go down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied ;
And all I ask is a windy day with the white clouds flying,
And the flung spray all the blown spume and the seagulls crying.
I must go down to the seas again to the vagrant gypsy life.
To the gull's way and the whale's way where the wind's like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick's over.
Invitation of the running tide can't be denied because
it can turn violent
it is made very lovingly
it is wild and clear
it is made on a windy day
Read the peom and answer the following questions.
I must go down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel's kick and the wind's song and the white sail's shaking,
And a gray mist on the sea's face and a gray dawn breaking.
I must go down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied ;
And all I ask is a windy day with the white clouds flying,
And the flung spray all the blown spume and the seagulls crying.
I must go down to the seas again to the vagrant gypsy life.
To the gull's way and the whale's way where the wind's like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick's over.
The poet likes a windy day because
sea-gulls enjoy it among the clouds
it helps the ship sail smoothly
it brings drops of rain
the sky gets overcast with white clouds
Read the peom and answer the following questions.
I must go down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel's kick and the wind's song and the white sail's shaking,
And a gray mist on the sea's face and a gray dawn breaking.
I must go down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied ;
And all I ask is a windy day with the white clouds flying,
And the flung spray all the blown spume and the seagulls crying.
I must go down to the seas again to the vagrant gypsy life.
To the gull's way and the whale's way where the wind's like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick's over.
What does the poet want to listen to?
A sad song of the wailing winds
The sound of flapping sails
A happy tale of adventure
A happy song of the sea
Read the poem and answer the following questions.
I want to be with people who submerge in the task,
who go into the fields of harvest and work in a row and pass the bags along,
who are not parlour generals and field deserters but move in a common rhythm
when the food must come in or the fire be put out.
The work of the world is common as mud.
Botched, it smears the hands, crumbles to dust.
But the thing worth doing well done has a shape that satisfies, clean, and evident.
Greek amphoras for wine and oil,
Hopi vases that held corn, are put in museums but you know they were made to be used.
The pitcher cries for water to carry and the person for work that is real.
The poet seems to admire
parlor generals
farmworkers
field deserters
wage earners
Read the poem and answer the following questions.
I want to be with people who submerge in the task,
who go into the fields of harvest and work in a row and pass the bags along,
who are not parlour generals and field deserters but move in a common rhythm
when the food must come in or the fire be put out.
The work of the world is common as mud.
Botched, it smears the hands, crumbles to dust.
But the thing worth doing well done has a shape that satisfies, clean, and evident.
Greek amphoras for wine and oil,
Hopi vases that held corn, are put in museums but you know they were made to be used.
The pitcher cries for water to carry and the person for work that is real.
What is common between parlour generals and field deserters?
Both love to work
Both of them love fighting
Both enjoy respect in society
Neither of them fights
Read the poem and answer the following questions.
I want to be with people who submerge in the task,
who go into the fields of harvest and work in a row and pass the bags along,
who are not parlour generals and field deserters but move in a common rhythm
when the food must come in or the fire be put out.
The work of the world is common as mud.
Botched, it smears the hands, crumbles to dust.
But the thing worth doing well done has a shape that satisfies, clean, and evident.
Greek amphoras for wine and oil,
Hopi vases that held corn, are put in museums but you know they were made to be used.
The pitcher cries for water to carry and the person for work that is real.
What happens when work with mud gets botched?
It leads to satisfaction
It is abandoned
Hands get dirty
No one pays for it
Read the poem and answer the following questions.
I want to be with people who submerge in the task,
who go into the fields of harvest and work in a row and pass the bags along,
who are not parlour generals and field deserters but move in a common rhythm
when the food must come in or the fire be put out.
The work of the world is common as mud.
Botched, it smears the hands, crumbles to dust.
But the thing worth doing well done has a shape that satisfies, clean, and evident.
Greek amphoras for wine and oil,
Hopi vases that held corn, are put in museums but you know they were made to be used.
The pitcher cries for water to carry and the person for work that is real.
The figure of speech used in lines 12-14 is
personification
metaphor
alliteration
irony
Read the poem and answer the following questions.
I want to be with people who submerge in the task,
who go into the fields of harvest and work in a row and pass the bags along,
who are not parlour generals and field deserters but move in a common rhythm
when the food must come in or the fire be put out.
The work of the world is common as mud.
Botched, it smears the hands, crumbles to dust.
But the thing worth doing well done has a shape that satisfies, clean, and evident.
Greek amphoras for wine and oil,
Hopi vases that held corn, are put in museums but you know they were made to be used.
The pitcher cries for water to carry and the person for work that is real.
Mud in the hands of a good craftsman becomes
a useful article
a museum piece
an expensive article
a work of art
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