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.

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

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

168.

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