Reading #06

A metaphor is a poetic device that deals with comparison. It compares similar qualities of two dissimilar objects. With a simple metaphor, one object becomes the other: Love is a rose. Although this does not sound like a particularly rich image, a metaphor can communicate so much about a particular image that poets use them more than any other type of figurative language. The reason for this is that poets compose their poetry to express what they are experiencing emotionally at that moment. Consequently, what the poet imagines love to be may or may not be our perception of love. Therefore, the poet’s job is to enable us to experience it, to feel it the same way that the poet does. We should be able to nod in agreement and say, “Yes, that’s it! I understand precisely where this person is coming from.”

Let’s analyze this remarkably unsophisticated metaphor concerning love and the rose to see what it offers. Because the poet uses a comparison with a rose, first we must examine the characteristics of that flower. A rose is spectacular in its beauty, its petals are velvety soft, and its aroma is soothing and pleasing. It’s possible to say that a rose is actually a veritable feast to the senses: the visual, the tactile, and the aural [more commonly known as the senses of sight, touch, and sound]. The rose’s appearance seems to border on perfection, each petal seemingly symmetrical in form. Isn’t this the way one’s love should be? A loved one should be a delight to one’s senses and seem perfect. However, there is another dimension added to the comparison by using a rose. Roses have thorns. This is the comprehensive image the poet wants to communicate; otherwise, a daisy or a mum would have been presented to the audience as the ultimate representation of love—but the poet didn’t, instead conveying the idea that roses can be treacherous. So can love, the metaphor tells us. When one reaches out with absolute trust to touch the object of his or her affection, ouch, a thorn can cause great harm! “Be careful,” the metaphor admonishes: Love is a feast to the senses, but it can overwhelm us, and it can also hurt us. It can prick us and cause acute suffering. This is the poet’s perception of love—an admonition. What is the point? Just this: It took almost 14 sentences to clarify what a simple metaphor communicates in only five words! That is the artistry and the joy of the simple metaphor.

The main idea of this passage is....

• poetic devices are necessary for poets.

• poetry must never cater to the senses.

• always use words that create one specific image.

• the metaphor is a great poetic device.

A metaphor is a poetic device that deals with comparison. It compares similar qualities of two dissimilar objects. With a simple metaphor, one object becomes the other: Love is a rose. Although this does not sound like a particularly rich image, a metaphor can communicate so much about a particular image that poets use them more than any other type of figurative language. The reason for this is that poets compose their poetry to express what they are experiencing emotionally at that moment. Consequently, what the poet imagines love to be may or may not be our perception of love. Therefore, the poet’s job is to enable us to experience it, to feel it the same way that the poet does. We should be able to nod in agreement and say, “Yes, that’s it! I understand precisely where this person is coming from.”

Let’s analyze this remarkably unsophisticated metaphor concerning love and the rose to see what it offers. Because the poet uses a comparison with a rose, first we must examine the characteristics of that flower. A rose is spectacular in its beauty, its petals are velvety soft, and its aroma is soothing and pleasing. It’s possible to say that a rose is actually a veritable feast to the senses: the visual, the tactile, and the aural [more commonly known as the senses of sight, touch, and sound]. The rose’s appearance seems to border on perfection, each petal seemingly symmetrical in form. Isn’t this the way one’s love should be? A loved one should be a delight to one’s senses and seem perfect. However, there is another dimension added to the comparison by using a rose. Roses have thorns. This is the comprehensive image the poet wants to communicate; otherwise, a daisy or a mum would have been presented to the audience as the ultimate representation of love—but the poet didn’t, instead conveying the idea that roses can be treacherous. So can love, the metaphor tells us. When one reaches out with absolute trust to touch the object of his or her affection, ouch, a thorn can cause great harm! “Be careful,” the metaphor admonishes: Love is a feast to the senses, but it can overwhelm us, and it can also hurt us. It can prick us and cause acute suffering. This is the poet’s perception of love—an admonition. What is the point? Just this: It took almost 14 sentences to clarify what a simple metaphor communicates in only five words! That is the artistry and the joy of the simple metaphor.

It can be inferred that a metaphor is....

• a type of figurative language.

• the only poetic device.

• not precise enough.

• a type of flower in a poem.

A metaphor is a poetic device that deals with comparison. It compares similar qualities of two dissimilar objects. With a simple metaphor, one object becomes the other: Love is a rose. Although this does not sound like a particularly rich image, a metaphor can communicate so much about a particular image that poets use them more than any other type of figurative language. The reason for this is that poets compose their poetry to express what they are experiencing emotionally at that moment. Consequently, what the poet imagines love to be may or may not be our perception of love. Therefore, the poet’s job is to enable us to experience it, to feel it the same way that the poet does. We should be able to nod in agreement and say, “Yes, that’s it! I understand precisely where this person is coming from.”

Let’s analyze this remarkably unsophisticated metaphor concerning love and the rose to see what it offers. Because the poet uses a comparison with a rose, first we must examine the characteristics of that flower. A rose is spectacular in its beauty, its petals are velvety soft, and its aroma is soothing and pleasing. It’s possible to say that a rose is actually a veritable feast to the senses: the visual, the tactile, and the aural [more commonly known as the senses of sight, touch, and sound]. The rose’s appearance seems to border on perfection, each petal seemingly symmetrical in form. Isn’t this the way one’s love should be? A loved one should be a delight to one’s senses and seem perfect. However, there is another dimension added to the comparison by using a rose. Roses have thorns. This is the comprehensive image the poet wants to communicate; otherwise, a daisy or a mum would have been presented to the audience as the ultimate representation of love—but the poet didn’t, instead conveying the idea that roses can be treacherous. So can love, the metaphor tells us. When one reaches out with absolute trust to touch the object of his or her affection, ouch, a thorn can cause great harm! “Be careful,” the metaphor admonishes: Love is a feast to the senses, but it can overwhelm us, and it can also hurt us. It can prick us and cause acute suffering. This is the poet’s perception of love—an admonition. What is the point? Just this: It took almost 14 sentences to clarify what a simple metaphor communicates in only five words! That is the artistry and the joy of the simple metaphor.

According to the passage, thorns.....

• protect the rose from harm.

• reduce the ability to love another.

• add a new element to the image of love.

• are just more images to compare to a rose.

A metaphor is a poetic device that deals with comparison. It compares similar qualities of two dissimilar objects. With a simple metaphor, one object becomes the other: Love is a rose. Although this does not sound like a particularly rich image, a metaphor can communicate so much about a particular image that poets use them more than any other type of figurative language. The reason for this is that poets compose their poetry to express what they are experiencing emotionally at that moment. Consequently, what the poet imagines love to be may or may not be our perception of love. Therefore, the poet’s job is to enable us to experience it, to feel it the same way that the poet does. We should be able to nod in agreement and say, “Yes, that’s it! I understand precisely where this person is coming from.”

Let’s analyze this remarkably unsophisticated metaphor concerning love and the rose to see what it offers. Because the poet uses a comparison with a rose, first we must examine the characteristics of that flower. A rose is spectacular in its beauty, its petals are velvety soft, and its aroma is soothing and pleasing. It’s possible to say that a rose is actually a veritable feast to the senses: the visual, the tactile, and the aural [more commonly known as the senses of sight, touch, and sound]. The rose’s appearance seems to border on perfection, each petal seemingly symmetrical in form. Isn’t this the way one’s love should be? A loved one should be a delight to one’s senses and seem perfect. However, there is another dimension added to the comparison by using a rose. Roses have thorns. This is the comprehensive image the poet wants to communicate; otherwise, a daisy or a mum would have been presented to the audience as the ultimate representation of love—but the poet didn’t, instead conveying the idea that roses can be treacherous. So can love, the metaphor tells us. When one reaches out with absolute trust to touch the object of his or her affection, ouch, a thorn can cause great harm! “Be careful,” the metaphor admonishes: Love is a feast to the senses, but it can overwhelm us, and it can also hurt us. It can prick us and cause acute suffering. This is the poet’s perception of love—an admonition. What is the point? Just this: It took almost 14 sentences to clarify what a simple metaphor communicates in only five words! That is the artistry and the joy of the simple metaphor.

It can be inferred that the true meaning of the love is a rose metaphor is that......

• love is a true joy.

• love comes only once in a lifetime.

• love is never permanent.

• love is a combination of good and bad experiences.

A metaphor is a poetic device that deals with comparison. It compares similar qualities of two dissimilar objects. With a simple metaphor, one object becomes the other: Love is a rose. Although this does not sound like a particularly rich image, a metaphor can communicate so much about a particular image that poets use them more than any other type of figurative language. The reason for this is that poets compose their poetry to express what they are experiencing emotionally at that moment. Consequently, what the poet imagines love to be may or may not be our perception of love. Therefore, the poet’s job is to enable us to experience it, to feel it the same way that the poet does. We should be able to nod in agreement and say, “Yes, that’s it! I understand precisely where this person is coming from.”

Let’s analyze this remarkably unsophisticated metaphor concerning love and the rose to see what it offers. Because the poet uses a comparison with a rose, first we must examine the characteristics of that flower. A rose is spectacular in its beauty, its petals are velvety soft, and its aroma is soothing and pleasing. It’s possible to say that a rose is actually a veritable feast to the senses: the visual, the tactile, and the aural [more commonly known as the senses of sight, touch, and sound]. The rose’s appearance seems to border on perfection, each petal seemingly symmetrical in form. Isn’t this the way one’s love should be? A loved one should be a delight to one’s senses and seem perfect. However, there is another dimension added to the comparison by using a rose. Roses have thorns. This is the comprehensive image the poet wants to communicate; otherwise, a daisy or a mum would have been presented to the audience as the ultimate representation of love—but the poet didn’t, instead conveying the idea that roses can be treacherous. So can love, the metaphor tells us. When one reaches out with absolute trust to touch the object of his or her affection, ouch, a thorn can cause great harm! “Be careful,” the metaphor admonishes: Love is a feast to the senses, but it can overwhelm us, and it can also hurt us. It can prick us and cause acute suffering. This is the poet’s perception of love—an admonition. What is the point? Just this: It took almost 14 sentences to clarify what a simple metaphor communicates in only five words! That is the artistry and the joy of the simple metaphor.

According to the passage, the poet’s intention is....

• to release anger.

• to announce heartache.

• to enable you to experience the poet’s point of view.

• to reward the senses.

The composer Wolfgang Amadeus Mozart’s remarkable musical talent was apparent even before most children can sing a simple nursery rhyme. Wolfgang’s older sister Maria Anna (who the family called Nannerl) was learning the clavier, an early keyboard instrument, when her three-year-old brother took an interest in playing. As Nannerl later recalled, Wolfgang “often spent much time at the clavier picking out thirds, which he was always striking, and his pleasure showed that it sounded good.” Their father Leopold, an assistant concertmaster at the Salzburg Court, recognized his children’s unique gifts and soon devoted himself to their musical education.

Born in Salzburg, Austria, on January 27, 1756, Wolfgang had composed his first original work by age five. Leopold planned to take Nannerl and Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon set his sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the family stopped in Linz, where Wolfgang gave his first public concert. By this time, Wolfgang was not only a virtuoso harpsichord player, but he had also mastered the violin. The audience at Linz was stunned by the six-year-old, and word of his genius soon traveled to Vienna. In a much anticipated concert, the Mozart children appeared at the Schonbrunn Palace on October 13, 1762. They utterly charmed the emperor and empress.

Following this success, Leopold was inundated with invitations for the children to play, for a fee. Leopold seized the opportunity and booked as many concerts as possible at courts throughout Europe. A concert could last three hours, and the children played at least two per a day. Today, Leopold might be considered the worst kind of stage parent, but at the time, it was not uncommon for prodigies to make extensive concert tours. Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap.

According to the passage, Wolfgang became interested in music because.....

• his father thought it would be profitable.

• he had a natural talent.

• he saw his sister learning to play an instrument.

• he came from a musical family.

The composer Wolfgang Amadeus Mozart’s remarkable musical talent was apparent even before most children can sing a simple nursery rhyme. Wolfgang’s older sister Maria Anna (who the family called Nannerl) was learning the clavier, an early keyboard instrument, when her three-year-old brother took an interest in playing. As Nannerl later recalled, Wolfgang “often spent much time at the clavier picking out thirds, which he was always striking, and his pleasure showed that it sounded good.” Their father Leopold, an assistant concertmaster at the Salzburg Court, recognized his children’s unique gifts and soon devoted himself to their musical education.

Born in Salzburg, Austria, on January 27, 1756, Wolfgang had composed his first original work by age five. Leopold planned to take Nannerl and Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon set his sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the family stopped in Linz, where Wolfgang gave his first public concert. By this time, Wolfgang was not only a virtuoso harpsichord player, but he had also mastered the violin. The audience at Linz was stunned by the six-year-old, and word of his genius soon traveled to Vienna. In a much anticipated concert, the Mozart children appeared at the Schonbrunn Palace on October 13, 1762. They utterly charmed the emperor and empress.

Following this success, Leopold was inundated with invitations for the children to play, for a fee. Leopold seized the opportunity and booked as many concerts as possible at courts throughout Europe. A concert could last three hours, and the children played at least two per a day. Today, Leopold might be considered the worst kind of stage parent, but at the time, it was not uncommon for prodigies to make extensive concert tours. Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap.

A good title for this passage would be....

• Classical Music in the Eighteenth Century: An Overview.

• Stage Parents: A Historical Perspective.

• Mozart: The Early Life of a Musical Prodigy.

• Mozart: The Short Career of a Musical Genius.

The composer Wolfgang Amadeus Mozart’s remarkable musical talent was apparent even before most children can sing a simple nursery rhyme. Wolfgang’s older sister Maria Anna (who the family called Nannerl) was learning the clavier, an early keyboard instrument, when her three-year-old brother took an interest in playing. As Nannerl later recalled, Wolfgang “often spent much time at the clavier picking out thirds, which he was always striking, and his pleasure showed that it sounded good.” Their father Leopold, an assistant concertmaster at the Salzburg Court, recognized his children’s unique gifts and soon devoted himself to their musical education.

Born in Salzburg, Austria, on January 27, 1756, Wolfgang had composed his first original work by age five. Leopold planned to take Nannerl and Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon set his sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the family stopped in Linz, where Wolfgang gave his first public concert. By this time, Wolfgang was not only a virtuoso harpsichord player, but he had also mastered the violin. The audience at Linz was stunned by the six-year-old, and word of his genius soon traveled to Vienna. In a much anticipated concert, the Mozart children appeared at the Schonbrunn Palace on October 13, 1762. They utterly charmed the emperor and empress.

Following this success, Leopold was inundated with invitations for the children to play, for a fee. Leopold seized the opportunity and booked as many concerts as possible at courts throughout Europe. A concert could last three hours, and the children played at least two per a day. Today, Leopold might be considered the worst kind of stage parent, but at the time, it was not uncommon for prodigies to make extensive concert tours. Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap.

What was the consequence of Wolfgang’s first public appearance?.....

• He charmed the emperor and empress of Hapsburg.

• Word of Wolfgang’s genius spread to the capital.

• Leopold set his sights on Vienna.

• Invitations for the miracle children to play poured in.

The composer Wolfgang Amadeus Mozart’s remarkable musical talent was apparent even before most children can sing a simple nursery rhyme. Wolfgang’s older sister Maria Anna (who the family called Nannerl) was learning the clavier, an early keyboard instrument, when her three-year-old brother took an interest in playing. As Nannerl later recalled, Wolfgang “often spent much time at the clavier picking out thirds, which he was always striking, and his pleasure showed that it sounded good.” Their father Leopold, an assistant concertmaster at the Salzburg Court, recognized his children’s unique gifts and soon devoted himself to their musical education.

Born in Salzburg, Austria, on January 27, 1756, Wolfgang had composed his first original work by age five. Leopold planned to take Nannerl and Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon set his sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the family stopped in Linz, where Wolfgang gave his first public concert. By this time, Wolfgang was not only a virtuoso harpsichord player, but he had also mastered the violin. The audience at Linz was stunned by the six-year-old, and word of his genius soon traveled to Vienna. In a much anticipated concert, the Mozart children appeared at the Schonbrunn Palace on October 13, 1762. They utterly charmed the emperor and empress.

Following this success, Leopold was inundated with invitations for the children to play, for a fee. Leopold seized the opportunity and booked as many concerts as possible at courts throughout Europe. A concert could last three hours, and the children played at least two per a day. Today, Leopold might be considered the worst kind of stage parent, but at the time, it was not uncommon for prodigies to make extensive concert tours. Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap.

Each of the following statements about Wolfgang Mozart is directly supported by the passage except....

• Mozart’s father, Leopold, was instrumental in shaping his career.

• Maria Anna was a talented musician in her own right.

• Wolfgang’s childhood was devoted to his musical career.

• Wolfgang preferred the violin to other instruments.

The composer Wolfgang Amadeus Mozart’s remarkable musical talent was apparent even before most children can sing a simple nursery rhyme. Wolfgang’s older sister Maria Anna (who the family called Nannerl) was learning the clavier, an early keyboard instrument, when her three-year-old brother took an interest in playing. As Nannerl later recalled, Wolfgang “often spent much time at the clavier picking out thirds, which he was always striking, and his pleasure showed that it sounded good.” Their father Leopold, an assistant concertmaster at the Salzburg Court, recognized his children’s unique gifts and soon devoted himself to their musical education.

Born in Salzburg, Austria, on January 27, 1756, Wolfgang had composed his first original work by age five. Leopold planned to take Nannerl and Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon set his sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the family stopped in Linz, where Wolfgang gave his first public concert. By this time, Wolfgang was not only a virtuoso harpsichord player, but he had also mastered the violin. The audience at Linz was stunned by the six-year-old, and word of his genius soon traveled to Vienna. In a much anticipated concert, the Mozart children appeared at the Schonbrunn Palace on October 13, 1762. They utterly charmed the emperor and empress.

Following this success, Leopold was inundated with invitations for the children to play, for a fee. Leopold seized the opportunity and booked as many concerts as possible at courts throughout Europe. A concert could last three hours, and the children played at least two per a day. Today, Leopold might be considered the worst kind of stage parent, but at the time, it was not uncommon for prodigies to make extensive concert tours. Even so, it was an exhausting schedule for a child who was just past the age of needing an afternoon nap.

According to the passage, during Wolfgang’s early years, child prodigies were....

• few and far between.

• accustomed to extensive concert tours.

• expected to spend at least six hours per a day practicing their music.

• expected to play for courts throughout Europe.