CMM LEAP Prep 6th Grade - "Turn, Turn, My Wheel"

How does the poet use personification in “Turn, Turn, My Wheel”? (4A)

• The poet gives the tree human qualities to show that it respects and wants to protect the potter.

• The poet gives the potter’s wheel human qualities to show how it turns smoothly to please the potter.

• The poet gives the potter’s clothing human qualities to show how it responds to the potter’s energetic movement.

• The poet gives the clay human qualities to show that it is compliant with the potter’s demands.

Which two lines from the poem support the answer to Part A?

• “Follows the motion of my hand;” (line 5)

• “The quilted sunshine and leaf-shade” (line 11)

• “A figure woven in tapestry,” (line 14)

• “In that magnificent attire” (line 16)

• “And even his slightest touch obey.” (line 27)

In line 22 of “Turn, Turn, My Wheel,” the speaker stands in silence and apart as the potter creates his work. Why is the speaker silent? (5A)

• The speaker is in awe of the potter’s power and skill.

• The speaker is frightened of the potter’s magical powers.

• The speaker dislikes the final product.

• The speaker wants to ask a question but is nervous.

Which line from “Turn, Turn, My Wheel” helps explain the speaker’s response in Part A? (5B)

• “Of sable tissue flaked with fire.” (line 17)

• “For it was magical to me-” (line 21)

• “That shapeless, lifeless mass of clay” (line 24)

• “And now contract and now expand,” (line 26)

How does the first stanza (lines 1 through 7) of “Turn, Turn, My Wheel” contribute to the development of its theme? (6A)

• It demonstrates how happy the potter is to be outdoors.

• It explains why the potter prefers the kind of clay he is using.

• It shows that the potter knows he can control the clay.

• It suggests that the potter wants to work as quickly and efficiently as possible.

Which lines from the poem also support the answer to Part A? Select two answers.

• “The quilted sunshine and leaf-shade” (line 11)

• “Like a magician he appeared,” (line 18)

• “That shapeless, lifeless mass of clay” (line 24)

• “Rise up to meet the master’s hand,” (line 25)

• “And even his slightest touch obey.” (line 27)