DAY 4 – Summer Holiday Group 2 Year 6 Poetry Homework

Lines Written in Early Spring by William Wordsworth

I heard a thousand blended notes,

While in a grove I sate reclined,

In that sweet mood when pleasant thoughts

Bring sad thoughts to the mind.

To her fair works did Nature link 5

The human soul that through me ran;

And much it grieved my heart to think

What man has made of man.

Through primrose tufts, in that green bower,

The periwinkle trailed its wreaths; 10

And ’tis my faith that every flower

Enjoys the air it breathes.

The birds around me hopped and played,

Their thoughts I cannot measure:—

But the least motion which they made 15

It seemed a thrill of pleasure.

The budding twigs spread out their fan,

To catch the breezy air;

And I must think, do all I can,

That there was pleasure there. 20

If this belief from heaven be sent,

If such be Nature’s holy plan,

Have I not reason to lament

What man has made of man?

What type of stanza is used throughout the poem?

Lines Written in Early Spring by William Wordsworth

I heard a thousand blended notes,

While in a grove I sate reclined,

In that sweet mood when pleasant thoughts

Bring sad thoughts to the mind.

To her fair works did Nature link 5

The human soul that through me ran;

And much it grieved my heart to think

What man has made of man.

Through primrose tufts, in that green bower,

The periwinkle trailed its wreaths; 10

And ’tis my faith that every flower

Enjoys the air it breathes.

The birds around me hopped and played,

Their thoughts I cannot measure:—

But the least motion which they made 15

It seemed a thrill of pleasure.

The budding twigs spread out their fan,

To catch the breezy air;

And I must think, do all I can,

That there was pleasure there. 20

If this belief from heaven be sent,

If such be Nature’s holy plan,

Have I not reason to lament

What man has made of man?

The following is a theme of the poem EXCEPT?

Lines Written in Early Spring by William Wordsworth

I heard a thousand blended notes,

While in a grove I sate reclined,

In that sweet mood when pleasant thoughts

Bring sad thoughts to the mind.

To her fair works did Nature link 5

The human soul that through me ran;

And much it grieved my heart to think

What man has made of man.

Through primrose tufts, in that green bower,

The periwinkle trailed its wreaths; 10

And ’tis my faith that every flower

Enjoys the air it breathes.

The birds around me hopped and played,

Their thoughts I cannot measure:—

But the least motion which they made 15

It seemed a thrill of pleasure.

The budding twigs spread out their fan,

To catch the breezy air;

And I must think, do all I can,

That there was pleasure there. 20

If this belief from heaven be sent,

If such be Nature’s holy plan,

Have I not reason to lament

What man has made of man?

What literary device is evident in the transition between lines 14 and 15?

Lines Written in Early Spring by William Wordsworth

I heard a thousand blended notes,

While in a grove I sate reclined,

In that sweet mood when pleasant thoughts

Bring sad thoughts to the mind.

To her fair works did Nature link 5

The human soul that through me ran;

And much it grieved my heart to think

What man has made of man.

Through primrose tufts, in that green bower,

The periwinkle trailed its wreaths; 10

And ’tis my faith that every flower

Enjoys the air it breathes.

The birds around me hopped and played,

Their thoughts I cannot measure:—

But the least motion which they made 15

It seemed a thrill of pleasure.

The budding twigs spread out their fan,

To catch the breezy air;

And I must think, do all I can,

That there was pleasure there. 20

If this belief from heaven be sent,

If such be Nature’s holy plan,

Have I not reason to lament

What man has made of man?

Which of the following lines used imagery?

Lines Written in Early Spring by William Wordsworth

I heard a thousand blended notes,

While in a grove I sate reclined,

In that sweet mood when pleasant thoughts

Bring sad thoughts to the mind.

To her fair works did Nature link 5

The human soul that through me ran;

And much it grieved my heart to think

What man has made of man.

Through primrose tufts, in that green bower,

The periwinkle trailed its wreaths; 10

And ’tis my faith that every flower

Enjoys the air it breathes.

The birds around me hopped and played,

Their thoughts I cannot measure:—

But the least motion which they made 15

It seemed a thrill of pleasure.

The budding twigs spread out their fan,

To catch the breezy air;

And I must think, do all I can,

That there was pleasure there. 20

If this belief from heaven be sent,

If such be Nature’s holy plan,

Have I not reason to lament

What man has made of man?

What do you think is the speaker’s behaviour in the poem?

Lines Written in Early Spring by William Wordsworth

I heard a thousand blended notes,

While in a grove I sate reclined,

In that sweet mood when pleasant thoughts

Bring sad thoughts to the mind.

To her fair works did Nature link 5

The human soul that through me ran;

And much it grieved my heart to think

What man has made of man.

Through primrose tufts, in that green bower,

The periwinkle trailed its wreaths; 10

And ’tis my faith that every flower

Enjoys the air it breathes.

The birds around me hopped and played,

Their thoughts I cannot measure:—

But the least motion which they made 15

It seemed a thrill of pleasure.

The budding twigs spread out their fan,

To catch the breezy air;

And I must think, do all I can,

That there was pleasure there. 20

If this belief from heaven be sent,

If such be Nature’s holy plan,

Have I not reason to lament

What man has made of man?

What can be inferred from lines 5 and 6?

Lines Written in Early Spring by William Wordsworth

I heard a thousand blended notes,

While in a grove I sate reclined,

In that sweet mood when pleasant thoughts

Bring sad thoughts to the mind.

To her fair works did Nature link 5

The human soul that through me ran;

And much it grieved my heart to think

What man has made of man.

Through primrose tufts, in that green bower,

The periwinkle trailed its wreaths; 10

And ’tis my faith that every flower

Enjoys the air it breathes.

The birds around me hopped and played,

Their thoughts I cannot measure:—

But the least motion which they made 15

It seemed a thrill of pleasure.

The budding twigs spread out their fan,

To catch the breezy air;

And I must think, do all I can,

That there was pleasure there. 20

If this belief from heaven be sent,

If such be Nature’s holy plan,

Have I not reason to lament

What man has made of man?

Which of the following presents the best summary for the last stanza?

Lines Written in Early Spring by William Wordsworth

I heard a thousand blended notes,

While in a grove I sate reclined,

In that sweet mood when pleasant thoughts

Bring sad thoughts to the mind.

To her fair works did Nature link 5

The human soul that through me ran;

And much it grieved my heart to think

What man has made of man.

Through primrose tufts, in that green bower,

The periwinkle trailed its wreaths; 10

And ’tis my faith that every flower

Enjoys the air it breathes.

The birds around me hopped and played,

Their thoughts I cannot measure:—

But the least motion which they made 15

It seemed a thrill of pleasure.

The budding twigs spread out their fan,

To catch the breezy air;

And I must think, do all I can,

That there was pleasure there. 20

If this belief from heaven be sent,

If such be Nature’s holy plan,

Have I not reason to lament

What man has made of man?

What is the message of the poem?

The Power of the Dog by Rudyard Kipling

There is sorrow enough in the natural way

From men and women to fill our day;

And when we are certain of sorrow in store,

Why do we always arrange for more?

Brothers and Sisters, I bid you beware 5

Of giving your heart to a dog to tear.

Buy a pup and your money will buy

Love unflinching that cannot lie—

Perfect passion and worship fed

By a kick in the ribs or a pat on the head. 10

Nevertheless it is hardly fair

To risk your heart for a dog to tear.

When the fourteen years which Nature permits

Are closing in asthma, or tumour, or fits,

And the vet’s unspoken prescription runs 15

To lethal chambers or loaded cannons,

Then you will find—it’s your own affair—

But… you’ve given your heart to a dog to tear.

When the body that lived at your single will,

With its whimper of welcome, is stilled (how still!). 20

When the spirit that answered your every mood

Is gone—wherever it goes—for good,

You will discover how much you care,

And will give your heart to a dog to tear.

We’ve sorrow enough in the natural way, 25

When it comes to burying Christian clay.

Our loves are not given, but only lent,

At compound interest of cent per cent.

Though it is not always the case, I believe,

That the longer we’ve kept ’em, the more do we grieve: 30

For, when debts are payable, right or wrong,

A short-time loan is as bad as a long—

So why in—Heaven (before we are there)

Should we give our hearts to a dog to tear?

Which of the following are NOT themes explored in the poem?

I. Animal relationships

II. Sorrow

III. Loneliness

IV. Hatred

The Power of the Dog by Rudyard Kipling

There is sorrow enough in the natural way

From men and women to fill our day;

And when we are certain of sorrow in store,

Why do we always arrange for more?

Brothers and Sisters, I bid you beware 5

Of giving your heart to a dog to tear.

Buy a pup and your money will buy

Love unflinching that cannot lie—

Perfect passion and worship fed

By a kick in the ribs or a pat on the head. 10

Nevertheless it is hardly fair

To risk your heart for a dog to tear.

When the fourteen years which Nature permits

Are closing in asthma, or tumour, or fits,

And the vet’s unspoken prescription runs 15

To lethal chambers or loaded cannons,

Then you will find—it’s your own affair—

But… you’ve given your heart to a dog to tear.

When the body that lived at your single will,

With its whimper of welcome, is stilled (how still!). 20

When the spirit that answered your every mood

Is gone—wherever it goes—for good,

You will discover how much you care,

And will give your heart to a dog to tear.

We’ve sorrow enough in the natural way, 25

When it comes to burying Christian clay.

Our loves are not given, but only lent,

At compound interest of cent per cent.

Though it is not always the case, I believe,

That the longer we’ve kept ’em, the more do we grieve: 30

For, when debts are payable, right or wrong,

A short-time loan is as bad as a long—

So why in—Heaven (before we are there)

Should we give our hearts to a dog to tear?

What figurative language is evident in lines 6, 12, 18, 24 and 34?

The Power of the Dog by Rudyard Kipling

There is sorrow enough in the natural way

From men and women to fill our day;

And when we are certain of sorrow in store,

Why do we always arrange for more?

Brothers and Sisters, I bid you beware 5

Of giving your heart to a dog to tear.

Buy a pup and your money will buy

Love unflinching that cannot lie—

Perfect passion and worship fed

By a kick in the ribs or a pat on the head. 10

Nevertheless it is hardly fair

To risk your heart for a dog to tear.

When the fourteen years which Nature permits

Are closing in asthma, or tumour, or fits,

And the vet’s unspoken prescription runs 15

To lethal chambers or loaded cannons,

Then you will find—it’s your own affair—

But… you’ve given your heart to a dog to tear.

When the body that lived at your single will,

With its whimper of welcome, is stilled (how still!). 20

When the spirit that answered your every mood

Is gone—wherever it goes—for good,

You will discover how much you care,

And will give your heart to a dog to tear.

We’ve sorrow enough in the natural way, 25

When it comes to burying Christian clay.

Our loves are not given, but only lent,

At compound interest of cent per cent.

Though it is not always the case, I believe,

That the longer we’ve kept ’em, the more do we grieve: 30

For, when debts are payable, right or wrong,

A short-time loan is as bad as a long—

So why in—Heaven (before we are there)

Should we give our hearts to a dog to tear?

Which of the following can not be inferred in the lines 27 to 34 ?

The Power of the Dog by Rudyard Kipling

There is sorrow enough in the natural way

From men and women to fill our day;

And when we are certain of sorrow in store,

Why do we always arrange for more?

Brothers and Sisters, I bid you beware 5

Of giving your heart to a dog to tear.

Buy a pup and your money will buy

Love unflinching that cannot lie—

Perfect passion and worship fed

By a kick in the ribs or a pat on the head. 10

Nevertheless it is hardly fair

To risk your heart for a dog to tear.

When the fourteen years which Nature permits

Are closing in asthma, or tumour, or fits,

And the vet’s unspoken prescription runs 15

To lethal chambers or loaded cannons,

Then you will find—it’s your own affair—

But… you’ve given your heart to a dog to tear.

When the body that lived at your single will,

With its whimper of welcome, is stilled (how still!). 20

When the spirit that answered your every mood

Is gone—wherever it goes—for good,

You will discover how much you care,

And will give your heart to a dog to tear.

We’ve sorrow enough in the natural way, 25

When it comes to burying Christian clay.

Our loves are not given, but only lent,

At compound interest of cent per cent.

Though it is not always the case, I believe,

That the longer we’ve kept ’em, the more do we grieve: 30

For, when debts are payable, right or wrong,

A short-time loan is as bad as a long—

So why in—Heaven (before we are there)

Should we give our hearts to a dog to tear?

What is the poem all about?

The Power of the Dog by Rudyard Kipling

There is sorrow enough in the natural way

From men and women to fill our day;

And when we are certain of sorrow in store,

Why do we always arrange for more?

Brothers and Sisters, I bid you beware 5

Of giving your heart to a dog to tear.

Buy a pup and your money will buy

Love unflinching that cannot lie—

Perfect passion and worship fed

By a kick in the ribs or a pat on the head. 10

Nevertheless it is hardly fair

To risk your heart for a dog to tear.

When the fourteen years which Nature permits

Are closing in asthma, or tumour, or fits,

And the vet’s unspoken prescription runs 15

To lethal chambers or loaded cannons,

Then you will find—it’s your own affair—

But… you’ve given your heart to a dog to tear.

When the body that lived at your single will,

With its whimper of welcome, is stilled (how still!). 20

When the spirit that answered your every mood

Is gone—wherever it goes—for good,

You will discover how much you care,

And will give your heart to a dog to tear.

We’ve sorrow enough in the natural way, 25

When it comes to burying Christian clay.

Our loves are not given, but only lent,

At compound interest of cent per cent.

Though it is not always the case, I believe,

That the longer we’ve kept ’em, the more do we grieve: 30

For, when debts are payable, right or wrong,

A short-time loan is as bad as a long—

So why in—Heaven (before we are there)

Should we give our hearts to a dog to tear?

What can be inferred in line 6?

The Power of the Dog by Rudyard Kipling

There is sorrow enough in the natural way

From men and women to fill our day;

And when we are certain of sorrow in store,

Why do we always arrange for more?

Brothers and Sisters, I bid you beware 5

Of giving your heart to a dog to tear.

Buy a pup and your money will buy

Love unflinching that cannot lie—

Perfect passion and worship fed

By a kick in the ribs or a pat on the head. 10

Nevertheless it is hardly fair

To risk your heart for a dog to tear.

When the fourteen years which Nature permits

Are closing in asthma, or tumour, or fits,

And the vet’s unspoken prescription runs 15

To lethal chambers or loaded cannons,

Then you will find—it’s your own affair—

But… you’ve given your heart to a dog to tear.

When the body that lived at your single will,

With its whimper of welcome, is stilled (how still!). 20

When the spirit that answered your every mood

Is gone—wherever it goes—for good,

You will discover how much you care,

And will give your heart to a dog to tear.

We’ve sorrow enough in the natural way, 25

When it comes to burying Christian clay.

Our loves are not given, but only lent,

At compound interest of cent per cent.

Though it is not always the case, I believe,

That the longer we’ve kept ’em, the more do we grieve: 30

For, when debts are payable, right or wrong,

A short-time loan is as bad as a long—

So why in—Heaven (before we are there)

Should we give our hearts to a dog to tear?

What can we infer from the third stanza?

The Power of the Dog by Rudyard Kipling

There is sorrow enough in the natural way

From men and women to fill our day;

And when we are certain of sorrow in store,

Why do we always arrange for more?

Brothers and Sisters, I bid you beware 5

Of giving your heart to a dog to tear.

Buy a pup and your money will buy

Love unflinching that cannot lie—

Perfect passion and worship fed

By a kick in the ribs or a pat on the head. 10

Nevertheless it is hardly fair

To risk your heart for a dog to tear.

When the fourteen years which Nature permits

Are closing in asthma, or tumour, or fits,

And the vet’s unspoken prescription runs 15

To lethal chambers or loaded cannons,

Then you will find—it’s your own affair—

But… you’ve given your heart to a dog to tear.

When the body that lived at your single will,

With its whimper of welcome, is stilled (how still!). 20

When the spirit that answered your every mood

Is gone—wherever it goes—for good,

You will discover how much you care,

And will give your heart to a dog to tear.

We’ve sorrow enough in the natural way, 25

When it comes to burying Christian clay.

Our loves are not given, but only lent,

At compound interest of cent per cent.

Though it is not always the case, I believe,

That the longer we’ve kept ’em, the more do we grieve: 30

For, when debts are payable, right or wrong,

A short-time loan is as bad as a long—

So why in—Heaven (before we are there)

Should we give our hearts to a dog to tear?

Which of the following summarises lines 21 to 24 most effectively?

The Power of the Dog by Rudyard Kipling

There is sorrow enough in the natural way

From men and women to fill our day;

And when we are certain of sorrow in store,

Why do we always arrange for more?

Brothers and Sisters, I bid you beware 5

Of giving your heart to a dog to tear.

Buy a pup and your money will buy

Love unflinching that cannot lie—

Perfect passion and worship fed

By a kick in the ribs or a pat on the head. 10

Nevertheless it is hardly fair

To risk your heart for a dog to tear.

When the fourteen years which Nature permits

Are closing in asthma, or tumour, or fits,

And the vet’s unspoken prescription runs 15

To lethal chambers or loaded cannons,

Then you will find—it’s your own affair—

But… you’ve given your heart to a dog to tear.

When the body that lived at your single will,

With its whimper of welcome, is stilled (how still!). 20

When the spirit that answered your every mood

Is gone—wherever it goes—for good,

You will discover how much you care,

And will give your heart to a dog to tear.

We’ve sorrow enough in the natural way, 25

When it comes to burying Christian clay.

Our loves are not given, but only lent,

At compound interest of cent per cent.

Though it is not always the case, I believe,

That the longer we’ve kept ’em, the more do we grieve: 30

For, when debts are payable, right or wrong,

A short-time loan is as bad as a long—

So why in—Heaven (before we are there)

Should we give our hearts to a dog to tear?

Which stanza questions why we still want more sorrow in the form of a dog?

Caged Bird by Maya Angelou

A free bird leaps

on the back of the wind   

and floats downstream   

till the current ends

and dips his wing 5

in the orange sun rays

and dares to claim the sky.

But a bird that stalks

down his narrow cage

can seldom see through 10

his bars of rage

his wings are clipped and   

his feet are tied

so he opens his throat to sing.

The caged bird sings 15

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   

on the distant hill   20

for the caged bird   

sings of freedom.

The free bird thinks of another breeze

and the trade winds soft through the sighing trees

and the fat worms waiting on a dawn bright lawn 25

and he names the sky his own.

But a caged bird stands on the grave of dreams   

his shadow shouts on a nightmare scream   

his wings are clipped and his feet are tied   

so he opens his throat to sing. 30

The caged bird sings   

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   35

on the distant hill   

for the caged bird   

sings of freedom.

What is the speaker describing in the poem?

Caged Bird by Maya Angelou

A free bird leaps

on the back of the wind   

and floats downstream   

till the current ends

and dips his wing 5

in the orange sun rays

and dares to claim the sky.

But a bird that stalks

down his narrow cage

can seldom see through 10

his bars of rage

his wings are clipped and   

his feet are tied

so he opens his throat to sing.

The caged bird sings 15

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   

on the distant hill   20

for the caged bird   

sings of freedom.

The free bird thinks of another breeze

and the trade winds soft through the sighing trees

and the fat worms waiting on a dawn bright lawn 25

and he names the sky his own.

But a caged bird stands on the grave of dreams   

his shadow shouts on a nightmare scream   

his wings are clipped and his feet are tied   

so he opens his throat to sing. 30

The caged bird sings   

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   35

on the distant hill   

for the caged bird   

sings of freedom.

The following are themes explored in the poem EXCEPT

Caged Bird by Maya Angelou

A free bird leaps

on the back of the wind   

and floats downstream   

till the current ends

and dips his wing 5

in the orange sun rays

and dares to claim the sky.

But a bird that stalks

down his narrow cage

can seldom see through 10

his bars of rage

his wings are clipped and   

his feet are tied

so he opens his throat to sing.

The caged bird sings 15

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   

on the distant hill   20

for the caged bird   

sings of freedom.

The free bird thinks of another breeze

and the trade winds soft through the sighing trees

and the fat worms waiting on a dawn bright lawn 25

and he names the sky his own.

But a caged bird stands on the grave of dreams   

his shadow shouts on a nightmare scream   

his wings are clipped and his feet are tied   

so he opens his throat to sing. 30

The caged bird sings   

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   35

on the distant hill   

for the caged bird   

sings of freedom.

What is the poem about?

Caged Bird by Maya Angelou

A free bird leaps

on the back of the wind   

and floats downstream   

till the current ends

and dips his wing 5

in the orange sun rays

and dares to claim the sky.

But a bird that stalks

down his narrow cage

can seldom see through 10

his bars of rage

his wings are clipped and   

his feet are tied

so he opens his throat to sing.

The caged bird sings 15

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   

on the distant hill   20

for the caged bird   

sings of freedom.

The free bird thinks of another breeze

and the trade winds soft through the sighing trees

and the fat worms waiting on a dawn bright lawn 25

and he names the sky his own.

But a caged bird stands on the grave of dreams   

his shadow shouts on a nightmare scream   

his wings are clipped and his feet are tied   

so he opens his throat to sing. 30

The caged bird sings   

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   35

on the distant hill   

for the caged bird   

sings of freedom.

What does the “caged” bird symbolise?

Caged Bird by Maya Angelou

A free bird leaps

on the back of the wind   

and floats downstream   

till the current ends

and dips his wing 5

in the orange sun rays

and dares to claim the sky.

But a bird that stalks

down his narrow cage

can seldom see through 10

his bars of rage

his wings are clipped and   

his feet are tied

so he opens his throat to sing.

The caged bird sings 15

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   

on the distant hill   20

for the caged bird   

sings of freedom.

The free bird thinks of another breeze

and the trade winds soft through the sighing trees

and the fat worms waiting on a dawn bright lawn 25

and he names the sky his own.

But a caged bird stands on the grave of dreams   

his shadow shouts on a nightmare scream   

his wings are clipped and his feet are tied   

so he opens his throat to sing. 30

The caged bird sings   

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   35

on the distant hill   

for the caged bird   

sings of freedom.

What is the main message of the poem?

Caged Bird by Maya Angelou

A free bird leaps

on the back of the wind   

and floats downstream   

till the current ends

and dips his wing 5

in the orange sun rays

and dares to claim the sky.

But a bird that stalks

down his narrow cage

can seldom see through 10

his bars of rage

his wings are clipped and   

his feet are tied

so he opens his throat to sing.

The caged bird sings 15

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   

on the distant hill   20

for the caged bird   

sings of freedom.

The free bird thinks of another breeze

and the trade winds soft through the sighing trees

and the fat worms waiting on a dawn bright lawn 25

and he names the sky his own.

But a caged bird stands on the grave of dreams   

his shadow shouts on a nightmare scream   

his wings are clipped and his feet are tied   

so he opens his throat to sing. 30

The caged bird sings   

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   35

on the distant hill   

for the caged bird   

sings of freedom.

How is freedom ironic in the poem?

Caged Bird by Maya Angelou

A free bird leaps

on the back of the wind   

and floats downstream   

till the current ends

and dips his wing 5

in the orange sun rays

and dares to claim the sky.

But a bird that stalks

down his narrow cage

can seldom see through 10

his bars of rage

his wings are clipped and   

his feet are tied

so he opens his throat to sing.

The caged bird sings 15

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   

on the distant hill   20

for the caged bird   

sings of freedom.

The free bird thinks of another breeze

and the trade winds soft through the sighing trees

and the fat worms waiting on a dawn bright lawn 25

and he names the sky his own.

But a caged bird stands on the grave of dreams   

his shadow shouts on a nightmare scream   

his wings are clipped and his feet are tied   

so he opens his throat to sing. 30

The caged bird sings   

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   35

on the distant hill   

for the caged bird   

sings of freedom.

What literary device is prevalent in the transition lines 10 to 11?

Caged Bird by Maya Angelou

A free bird leaps

on the back of the wind   

and floats downstream   

till the current ends

and dips his wing 5

in the orange sun rays

and dares to claim the sky.

But a bird that stalks

down his narrow cage

can seldom see through 10

his bars of rage

his wings are clipped and   

his feet are tied

so he opens his throat to sing.

The caged bird sings 15

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   

on the distant hill   20

for the caged bird   

sings of freedom.

The free bird thinks of another breeze

and the trade winds soft through the sighing trees

and the fat worms waiting on a dawn bright lawn 25

and he names the sky his own.

But a caged bird stands on the grave of dreams   

his shadow shouts on a nightmare scream   

his wings are clipped and his feet are tied   

so he opens his throat to sing. 30

The caged bird sings   

with a fearful trill   

of things unknown   

but longed for still   

and his tune is heard   35

on the distant hill   

for the caged bird   

sings of freedom.

What do lines 37 to 38 try to mean?

Morning Poem by Mary Oliver

Every morning

the world

is created.

Under the orange

sticks of the sun 5

the heaped

ashes of the night

turn into leaves again

and fasten themselves to the high branches–

and the ponds appear 10

like black cloth

on which are painted islands

of summer lilies.

If it is your nature

to be happy 15

you will swim away along the soft trails

for hours, your imagination

alighting everywhere.

And if your spirit

carries within it 20

the thorn

that is heavier than lead–

if it’s all you can do

to keep on trudging–

there is still 25

somewhere deep within you

a beast shouting that the earth

is exactly what it wanted–

each pond with its blazing lilies

is a prayer heard and answered 30

lavishly,

every morning,

whether or not

you have ever dared to be happy,

whether or not 35

you have ever dared to pray.

What literary device is prevalent in lines 1 to 3?

Morning Poem by Mary Oliver

Every morning

the world

is created.

Under the orange

sticks of the sun 5

the heaped

ashes of the night

turn into leaves again

and fasten themselves to the high branches–

and the ponds appear 10

like black cloth

on which are painted islands

of summer lilies.

If it is your nature

to be happy 15

you will swim away along the soft trails

for hours, your imagination

alighting everywhere.

And if your spirit

carries within it 20

the thorn

that is heavier than lead–

if it’s all you can do

to keep on trudging–

there is still 25

somewhere deep within you

a beast shouting that the earth

is exactly what it wanted–

each pond with its blazing lilies

is a prayer heard and answered 30

lavishly,

every morning,

whether or not

you have ever dared to be happy,

whether or not 35

you have ever dared to pray.

What is the prevailing mood of the poem?

Morning Poem by Mary Oliver

Every morning

the world

is created.

Under the orange

sticks of the sun 5

the heaped

ashes of the night

turn into leaves again

and fasten themselves to the high branches–

and the ponds appear 10

like black cloth

on which are painted islands

of summer lilies.

If it is your nature

to be happy 15

you will swim away along the soft trails

for hours, your imagination

alighting everywhere.

And if your spirit

carries within it 20

the thorn

that is heavier than lead–

if it’s all you can do

to keep on trudging–

there is still 25

somewhere deep within you

a beast shouting that the earth

is exactly what it wanted–

each pond with its blazing lilies

is a prayer heard and answered 30

lavishly,

every morning,

whether or not

you have ever dared to be happy,

whether or not 35

you have ever dared to pray.

Line 5 mentions “sticks of the sun”. What image is inferred by this?

Morning Poem by Mary Oliver

Every morning

the world

is created.

Under the orange

sticks of the sun 5

the heaped

ashes of the night

turn into leaves again

and fasten themselves to the high branches–

and the ponds appear 10

like black cloth

on which are painted islands

of summer lilies.

If it is your nature

to be happy 15

you will swim away along the soft trails

for hours, your imagination

alighting everywhere.

And if your spirit

carries within it 20

the thorn

that is heavier than lead–

if it’s all you can do

to keep on trudging–

there is still 25

somewhere deep within you

a beast shouting that the earth

is exactly what it wanted–

each pond with its blazing lilies

is a prayer heard and answered 30

lavishly,

every morning,

whether or not

you have ever dared to be happy,

whether or not 35

you have ever dared to pray.

In lines 1 to 4, what does the “morning” symbolise?

Morning Poem by Mary Oliver

Every morning

the world

is created.

Under the orange

sticks of the sun 5

the heaped

ashes of the night

turn into leaves again

and fasten themselves to the high branches–

and the ponds appear 10

like black cloth

on which are painted islands

of summer lilies.

If it is your nature

to be happy 15

you will swim away along the soft trails

for hours, your imagination

alighting everywhere.

And if your spirit

carries within it 20

the thorn

that is heavier than lead–

if it’s all you can do

to keep on trudging–

there is still 25

somewhere deep within you

a beast shouting that the earth

is exactly what it wanted–

each pond with its blazing lilies

is a prayer heard and answered 30

lavishly,

every morning,

whether or not

you have ever dared to be happy,

whether or not 35

you have ever dared to pray.

In lines 21 to 24, what does the word “thorn” imply?

Morning Poem by Mary Oliver

Every morning

the world

is created.

Under the orange

sticks of the sun 5

the heaped

ashes of the night

turn into leaves again

and fasten themselves to the high branches–

and the ponds appear 10

like black cloth

on which are painted islands

of summer lilies.

If it is your nature

to be happy 15

you will swim away along the soft trails

for hours, your imagination

alighting everywhere.

And if your spirit

carries within it 20

the thorn

that is heavier than lead–

if it’s all you can do

to keep on trudging–

there is still 25

somewhere deep within you

a beast shouting that the earth

is exactly what it wanted–

each pond with its blazing lilies

is a prayer heard and answered 30

lavishly,

every morning,

whether or not

you have ever dared to be happy,

whether or not 35

you have ever dared to pray.

Which of the following summarises lines 33 to 36 most effectively?

Morning Poem by Mary Oliver

Every morning

the world

is created.

Under the orange

sticks of the sun 5

the heaped

ashes of the night

turn into leaves again

and fasten themselves to the high branches–

and the ponds appear 10

like black cloth

on which are painted islands

of summer lilies.

If it is your nature

to be happy 15

you will swim away along the soft trails

for hours, your imagination

alighting everywhere.

And if your spirit

carries within it 20

the thorn

that is heavier than lead–

if it’s all you can do

to keep on trudging–

there is still 25

somewhere deep within you

a beast shouting that the earth

is exactly what it wanted–

each pond with its blazing lilies

is a prayer heard and answered 30

lavishly,

every morning,

whether or not

you have ever dared to be happy,

whether or not 35

you have ever dared to pray.

The following expresses what the poem is all about EXCEPT

Morning Poem by Mary Oliver

Every morning

the world

is created.

Under the orange

sticks of the sun 5

the heaped

ashes of the night

turn into leaves again

and fasten themselves to the high branches–

and the ponds appear 10

like black cloth

on which are painted islands

of summer lilies.

If it is your nature

to be happy 15

you will swim away along the soft trails

for hours, your imagination

alighting everywhere.

And if your spirit

carries within it 20

the thorn

that is heavier than lead–

if it’s all you can do

to keep on trudging–

there is still 25

somewhere deep within you

a beast shouting that the earth

is exactly what it wanted–

each pond with its blazing lilies

is a prayer heard and answered 30

lavishly,

every morning,

whether or not

you have ever dared to be happy,

whether or not 35

you have ever dared to pray.

What literary device is observed in lines 10 to 11?

“Animals” by Walt Whitman

I think I could turn and live with animals, they are so placid and self-contain’d,

I stand and look at them long and long.

They do not sweat and whine about their condition,

They do not lie awake in the dark and weep for their sins,

They do not make me sick discussing their duty to God, 5

Not one is dissatisfied, not one is demented with the mania of owning things,

Not one kneels to another, nor to his kind that lived thousands of years ago,

Not one is respectable or unhappy over the whole earth.

So they show their relations to me and I accept them,

They bring me tokens of myself, they evince them plainly in their possession. 10

I wonder where they get those tokens,

Did I pass that way huge times ago and negligently drop them?

Myself moving forward then and now and forever,

Gathering and showing more always and with velocity,

Infinite and omnigenous, and the like of these among them, 15

Not too exclusive toward the reachers of my remembrancers,

Picking out here one that I love, and now go with him on brotherly terms.

A gigantic beauty of a stallion, fresh and responsive to my caresses,

Head high in the forehead, wide between the ears,

Limbs glossy and supple, tail dusting the ground, 20

Eyes full of sparkling wickedness, ears finely cut, flexibly moving.

His nostrils dilate as my heels embrace him,

His well-built limbs tremble with pleasure as we race around and return.

I but use you a minute, then I resign you, stallion,

Why do I need your paces when I myself out-gallop them? 25

Even as I stand or sit passing faster than you.

The following are immoral conducts the poet observe in humans EXCEPT

I. Greed

II. Complaining about their conditions

III. Generosity

IV. Hypocrisy

V. Self-centeredness

“Animals” by Walt Whitman

I think I could turn and live with animals, they are so placid and self-contain’d,

I stand and look at them long and long.

They do not sweat and whine about their condition,

They do not lie awake in the dark and weep for their sins,

They do not make me sick discussing their duty to God, 5

Not one is dissatisfied, not one is demented with the mania of owning things,

Not one kneels to another, nor to his kind that lived thousands of years ago,

Not one is respectable or unhappy over the whole earth.

So they show their relations to me and I accept them,

They bring me tokens of myself, they evince them plainly in their possession. 10

I wonder where they get those tokens,

Did I pass that way huge times ago and negligently drop them?

Myself moving forward then and now and forever,

Gathering and showing more always and with velocity,

Infinite and omnigenous, and the like of these among them, 15

Not too exclusive toward the reachers of my remembrancers,

Picking out here one that I love, and now go with him on brotherly terms.

A gigantic beauty of a stallion, fresh and responsive to my caresses,

Head high in the forehead, wide between the ears,

Limbs glossy and supple, tail dusting the ground, 20

Eyes full of sparkling wickedness, ears finely cut, flexibly moving.

His nostrils dilate as my heels embrace him,

His well-built limbs tremble with pleasure as we race around and return.

I but use you a minute, then I resign you, stallion,

Why do I need your paces when I myself out-gallop them? 25

Even as I stand or sit passing faster than you.

In lines 10 to 11, the word “tokens” is a metaphor for?

“Animals” by Walt Whitman

I think I could turn and live with animals, they are so placid and self-contain’d,

I stand and look at them long and long.

They do not sweat and whine about their condition,

They do not lie awake in the dark and weep for their sins,

They do not make me sick discussing their duty to God, 5

Not one is dissatisfied, not one is demented with the mania of owning things,

Not one kneels to another, nor to his kind that lived thousands of years ago,

Not one is respectable or unhappy over the whole earth.

So they show their relations to me and I accept them,

They bring me tokens of myself, they evince them plainly in their possession. 10

I wonder where they get those tokens,

Did I pass that way huge times ago and negligently drop them?

Myself moving forward then and now and forever,

Gathering and showing more always and with velocity,

Infinite and omnigenous, and the like of these among them, 15

Not too exclusive toward the reachers of my remembrancers,

Picking out here one that I love, and now go with him on brotherly terms.

A gigantic beauty of a stallion, fresh and responsive to my caresses,

Head high in the forehead, wide between the ears,

Limbs glossy and supple, tail dusting the ground, 20

Eyes full of sparkling wickedness, ears finely cut, flexibly moving.

His nostrils dilate as my heels embrace him,

His well-built limbs tremble with pleasure as we race around and return.

I but use you a minute, then I resign you, stallion,

Why do I need your paces when I myself out-gallop them? 25

Even as I stand or sit passing faster than you.

What figurative language is evident in lines 3 to 5?

“Animals” by Walt Whitman

I think I could turn and live with animals, they are so placid and self-contain’d,

I stand and look at them long and long.

They do not sweat and whine about their condition,

They do not lie awake in the dark and weep for their sins,

They do not make me sick discussing their duty to God, 5

Not one is dissatisfied, not one is demented with the mania of owning things,

Not one kneels to another, nor to his kind that lived thousands of years ago,

Not one is respectable or unhappy over the whole earth.

So they show their relations to me and I accept them,

They bring me tokens of myself, they evince them plainly in their possession. 10

I wonder where they get those tokens,

Did I pass that way huge times ago and negligently drop them?

Myself moving forward then and now and forever,

Gathering and showing more always and with velocity,

Infinite and omnigenous, and the like of these among them, 15

Not too exclusive toward the reachers of my remembrancers,

Picking out here one that I love, and now go with him on brotherly terms.

A gigantic beauty of a stallion, fresh and responsive to my caresses,

Head high in the forehead, wide between the ears,

Limbs glossy and supple, tail dusting the ground, 20

Eyes full of sparkling wickedness, ears finely cut, flexibly moving.

His nostrils dilate as my heels embrace him,

His well-built limbs tremble with pleasure as we race around and return.

I but use you a minute, then I resign you, stallion,

Why do I need your paces when I myself out-gallop them? 25

Even as I stand or sit passing faster than you.

In the first stanza, why does the speaker want to turn himself into an animal?

“Animals” by Walt Whitman

I think I could turn and live with animals, they are so placid and self-contain’d,

I stand and look at them long and long.

They do not sweat and whine about their condition,

They do not lie awake in the dark and weep for their sins,

They do not make me sick discussing their duty to God, 5

Not one is dissatisfied, not one is demented with the mania of owning things,

Not one kneels to another, nor to his kind that lived thousands of years ago,

Not one is respectable or unhappy over the whole earth.

So they show their relations to me and I accept them,

They bring me tokens of myself, they evince them plainly in their possession. 10

I wonder where they get those tokens,

Did I pass that way huge times ago and negligently drop them?

Myself moving forward then and now and forever,

Gathering and showing more always and with velocity,

Infinite and omnigenous, and the like of these among them, 15

Not too exclusive toward the reachers of my remembrancers,

Picking out here one that I love, and now go with him on brotherly terms.

A gigantic beauty of a stallion, fresh and responsive to my caresses,

Head high in the forehead, wide between the ears,

Limbs glossy and supple, tail dusting the ground, 20

Eyes full of sparkling wickedness, ears finely cut, flexibly moving.

His nostrils dilate as my heels embrace him,

His well-built limbs tremble with pleasure as we race around and return.

I but use you a minute, then I resign you, stallion,

Why do I need your paces when I myself out-gallop them? 25

Even as I stand or sit passing faster than you.

Which of the following summarises lines 6 to 8 most effectively?

“Animals” by Walt Whitman

I think I could turn and live with animals, they are so placid and self-contain’d,

I stand and look at them long and long.

They do not sweat and whine about their condition,

They do not lie awake in the dark and weep for their sins,

They do not make me sick discussing their duty to God, 5

Not one is dissatisfied, not one is demented with the mania of owning things,

Not one kneels to another, nor to his kind that lived thousands of years ago,

Not one is respectable or unhappy over the whole earth.

So they show their relations to me and I accept them,

They bring me tokens of myself, they evince them plainly in their possession. 10

I wonder where they get those tokens,

Did I pass that way huge times ago and negligently drop them?

Myself moving forward then and now and forever,

Gathering and showing more always and with velocity,

Infinite and omnigenous, and the like of these among them, 15

Not too exclusive toward the reachers of my remembrancers,

Picking out here one that I love, and now go with him on brotherly terms.

A gigantic beauty of a stallion, fresh and responsive to my caresses,

Head high in the forehead, wide between the ears,

Limbs glossy and supple, tail dusting the ground, 20

Eyes full of sparkling wickedness, ears finely cut, flexibly moving.

His nostrils dilate as my heels embrace him,

His well-built limbs tremble with pleasure as we race around and return.

I but use you a minute, then I resign you, stallion,

Why do I need your paces when I myself out-gallop them? 25

Even as I stand or sit passing faster than you.

What can be inferred from lines 7 and 8?

“Animals” by Walt Whitman

I think I could turn and live with animals, they are so placid and self-contain’d,

I stand and look at them long and long.

They do not sweat and whine about their condition,

They do not lie awake in the dark and weep for their sins,

They do not make me sick discussing their duty to God, 5

Not one is dissatisfied, not one is demented with the mania of owning things,

Not one kneels to another, nor to his kind that lived thousands of years ago,

Not one is respectable or unhappy over the whole earth.

So they show their relations to me and I accept them,

They bring me tokens of myself, they evince them plainly in their possession. 10

I wonder where they get those tokens,

Did I pass that way huge times ago and negligently drop them?

Myself moving forward then and now and forever,

Gathering and showing more always and with velocity,

Infinite and omnigenous, and the like of these among them, 15

Not too exclusive toward the reachers of my remembrancers,

Picking out here one that I love, and now go with him on brotherly terms.

A gigantic beauty of a stallion, fresh and responsive to my caresses,

Head high in the forehead, wide between the ears,

Limbs glossy and supple, tail dusting the ground, 20

Eyes full of sparkling wickedness, ears finely cut, flexibly moving.

His nostrils dilate as my heels embrace him,

His well-built limbs tremble with pleasure as we race around and return.

I but use you a minute, then I resign you, stallion,

Why do I need your paces when I myself out-gallop them? 25

Even as I stand or sit passing faster than you.

Which stanza criticises the manner in which humans brag about everything that occurs in their lives?

“Animals” by Walt Whitman

I think I could turn and live with animals, they are so placid and self-contain’d,

I stand and look at them long and long.

They do not sweat and whine about their condition,

They do not lie awake in the dark and weep for their sins,

They do not make me sick discussing their duty to God, 5

Not one is dissatisfied, not one is demented with the mania of owning things,

Not one kneels to another, nor to his kind that lived thousands of years ago,

Not one is respectable or unhappy over the whole earth.

So they show their relations to me and I accept them,

They bring me tokens of myself, they evince them plainly in their possession. 10

I wonder where they get those tokens,

Did I pass that way huge times ago and negligently drop them?

Myself moving forward then and now and forever,

Gathering and showing more always and with velocity,

Infinite and omnigenous, and the like of these among them, 15

Not too exclusive toward the reachers of my remembrancers,

Picking out here one that I love, and now go with him on brotherly terms.

A gigantic beauty of a stallion, fresh and responsive to my caresses,

Head high in the forehead, wide between the ears,

Limbs glossy and supple, tail dusting the ground, 20

Eyes full of sparkling wickedness, ears finely cut, flexibly moving.

His nostrils dilate as my heels embrace him,

His well-built limbs tremble with pleasure as we race around and return.

I but use you a minute, then I resign you, stallion,

Why do I need your paces when I myself out-gallop them? 25

Even as I stand or sit passing faster than you.

What figurative language is evident in line, “lived thousands of years ago”?