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1
Intermediate Passage 1: A Fine Balance

The savings were sufficient to pay for bus fares. Dina went to parks, wandered in museums and markets, visited cinemas (just from the outside, to look at posters), and ventured timidly into public libraries. The heads bent over books made her feel out of place; everyone in there seemed so learned, and she hadn’t even matriculated.

This impression was dispelled when she realized that the reading material in the hands of these grave individuals could range from something unpronounceable like Areopagitica1 (a seventeenth-century political pamphlet by John Milton) to The Illustrated Weekly of India. Eventually, the enormous old reading rooms, with their high ceilings, creaky floorboards and dark panelling, became her favourite sanctuary. The stately ceiling fans that hung from long poles swept the air with a comforting whoosh, and the deep leather chairs, musty smells, and rustle of turning pages were soothing. Best of all, people spoke in whispers. The only time Dina heard a shout was when the doorman scolded a beggar trying to sneak inside. Hours passed as she flipped through encyclopaedias, gazed into art books, and curiously opened dusty medical tomes, rounding off the visit by sitting for a few minutes with eyes closed in a dark corner of the old building, where time could stand still if one wanted it to.

The more modern libraries were equipped with music rooms. They also had fluorescent lights, Formica tables, air-conditioning, and brightly painted walls, and were always crowded. She found them cold and inhospitable, going there only if she wanted to listen to records. She knew very little about music—a few names like Brahms, Mozart, Schumann, and Bach, which her ears had picked up in childhood when her father would turn on the radio or put something on the gramophone,2 (a record player) take her in his lap and say, “It makes you forget the troubles of this world, doesn’t it?” and Dina would nod her head seriously.

In the library she selected records at random, trying to memorize the names of the ones she enjoyed so she could play them again another day. It was tricky, because the symphonies and concertos and sonatas were distinguished only by numbers that were preceded by letters like Op. and K. and BWV,3 (abbreviations referring to catalogues of musical works) and she did not know what any of it meant. If she was lucky she found something with a name that resonated richly in her memory; and when the familiar music filled her head, the past was conquered for a brief while, and she felt herself ache with the ecstasy of completion, as though a missing limb had been recovered.

She both desired and dreaded these intense musical experiences. The perfect felicity of the music room was always replaced by an unfocused anger when she returned to life with Nusswan and Ruby. The bitterest fights took place on days when she had visited the record collection.

Magazines and newspapers were far less complicated. Through reading the dailies, she discovered there were several cultural groups that sponsored concerts and recitals in the city. Many of these performances—usually the ones by local amateurs or obscure foreigners—were free. She started using her bus fares to go to these concerts, and found them a welcome variation on the library. The performers, too, were no doubt grateful for her presence at these meagrely attended evenings.

She lingered at the periphery of the crowd in the foyer, feeling like an imposter. Everyone else seemed to know so much about music, about the evening’s performers, judging from the sophisticated way they held their programmes and pointed to items inside. She longed for the doors to open, for the dim lights within to disguise her shortcomings.

In the recital hall the music did not have the power to touch her the way it did during her solitary hours in the library. Here, the human comedy shared equal time with the music. And after a few recitals she began to recognize the regulars in the audience.

In a well-written essay, analyze how Mistry uses literary elements and techniques to convey Dina’s complex response to these places.

A
Analyze how Mistry uses literary elements and techniques to convey Dina’s complex response to the library and recital hall.
2
Intermediate Passage 2: A Respectable Woman

Mrs. Baroda heard footsteps crunching the gravel; but could discern in the darkness only the approaching red point of a lighted cigar. She knew it was Gouvernail, for her husband did not smoke. She hoped to remain unnoticed, but her white gown revealed her to him. He threw away his cigar and seated himself upon the bench beside her; without a suspicion that she might object to his presence.

“Your husband told me to bring this to you, Mrs. Baroda,” he said, handing her a filmy, white scarf with which she sometimes enveloped her head and shoulders. She accepted the scarf from him with a murmur of thanks, and let it lie in her lap.

He made some commonplace observation upon the baneful effect of the night air at the season. Then as his gaze reached out into the darkness, he murmured, half to himself:

“‘Night of south winds—night of the large few stars!
Still nodding night—’”1 (from part 21 of Walt Whitman’s poem “Song of Myself”)

She made no reply to this apostrophe to the night, which, indeed, was not addressed to her.

Gouvernail was in no sense a diffident man, for he was not a self-conscious one. His periods of reserve were not constitutional, but the result of moods. Sitting there beside Mrs. Baroda, his silence melted for the time.

He talked freely and intimately in a low, hesitating drawl that was not unpleasant to hear. He talked of the old college days when he and Gaston had been a good deal to each other; of the days of keen and blind ambitions and large intentions. Now there was left with him, at least, a philosophic acquiescence to the existing order—only a desire to be permitted to exist, with now and then a little whiff of genuine life, such as he was breathing now.

Her mind only vaguely grasped what he was saying. Her physical being was for the moment predominant. She was not thinking of his words, only drinking in the tones of his voice. She wanted to reach out her hand in the darkness and touch him with the sensitive tips of her fingers upon the face or the lips. She wanted to draw close to him and whisper against his cheek—she did not care what—as she might have done if she had not been a respectable woman.

The stronger the impulse grew to bring herself near him, the further, in fact, did she draw away from him. As soon as she could do so without an appearance of too great rudeness, she rose and left him there alone.

Before she reached the house, Gouvernail had lighted a fresh cigar and ended his apostrophe to the night.

Mrs. Baroda was greatly tempted that night to tell her husband—who was also her friend—of this folly that had seized her. But she did not yield to the temptation. Beside being a respectable woman she was a very sensible one; and she knew there are some battles in life which a human being must fight alone.

When Gaston arose in the morning, his wife had already departed. She had taken an early morning train to the city. She did not return till Gouvernail was gone from under her roof.

There was some talk of having him back during the summer that followed. That is, Gaston greatly desired it; but this desire yielded to his wife’s strenuous opposition.

However, before the year ended, she proposed, wholly from herself, to have Gouvernail visit them again. Her husband was surprised and delighted with the suggestion coming from her.

“I am glad, chère amie, to know that you have finally overcome your dislike for him; truly he did not deserve it.”

“Oh,” she told him, laughingly, after pressing a long, tender kiss upon his lips, “I have overcome everything! you will see. This time I shall be very nice to him.”

In a well-written essay, analyze how Chopin uses literary elements and techniques to convey Mrs. Baroda’s complex response to her encounter with Gouvernail.

A
Analyze how Chopin uses literary elements and techniques to convey Mrs. Baroda’s complex response to her encounter with Gouvernail.
3
Intermediate Passage 3: A Thread Without a Knot

When the assistant in the history department announced to Professor Endicott his intention of spending several months in Paris to complete the research work necessary to his doctor’s dissertation, the head of the department looked at him with an astonishment so unflattering in its significance that the younger man laughed aloud.

“You didn’t think I had it in me to take it so seriously, did you, Prof?” he said, with his usual undisturbed and amused perception of the other’s estimate of him. “And you’re dead right, too! I’m doing it because I’ve got to, that’s all. It’s borne in on me that you can’t climb up very fast in modern American universities unless you’ve got a doctor’s degree, and you can’t be a Ph.D. without having dug around some in a European library. I’ve picked out a subject that needs just as little of that as any—you know as well as I do that right here in Illinois I can find out everything that’s worth knowing about the early French explorers of the Mississippi—but three months in the Archives in Paris ought to put a polish on my dissertation that will make even Columbia and Harvard sit up and blink. Am I right in my calculations?”

Professor Endicott’s thin shoulders executed a resigned shrug. “You are always right in your calculations, my dear Harrison,” he said; adding, with an ambiguous intonation, “And I suppose I am to salute in you the American scholar of the future.”

Harrison laughed again without resentment, and proceeded indulgently to reassure his chief. “No, sir, you needn’t be alarmed. There’ll always be enough American-born scholars to keep you from being lonesome, just as there’ll always be others like me, that don’t pretend to have a drop of real scholar’s blood in them. I want to teach!—to teach history!—American history! . . . teach it to fool young undergraduates who don’t know what kind of a country they’ve got, nor what they ought to make out of it, now they’ve got it. And I’m going in to get a Ph.D. the same way I wear a stiff shirt and collars and cuffs, not because I was brought up to believe in them as necessary to salvation—because I wasn’t, Lord knows!—but because there’s a prejudice in favor of them among the people I’ve got to deal with.” He drew a long breath and went on, “Besides, Miss Warner and I have been engaged about long enough. I want to earn enough to get married on, and Ph.D. means advancement.”

Professor Endicott assented dryly: “That is undoubtedly just what it means nowadays. But you will ‘advance,’ as you call it, under any circumstances. You will not remain a professor of history. I give you ten years to be president of one of our large Western universities.”

His accent made the prophecy by no means a compliment, but Harrison shook his hand with undiminished good-will. “Well, Prof, if I am, my first appointment will be to make you head of the history department with twice the usual salary, and only one lecture a week to deliver to a class of four P. G.’s—post-graduates,1 (graduate students) you know. I know a scholar when I see one, if I don’t belong to the tribe myself, and I know how they ought to be treated.”

If, in his turn, he put into a neutral phrase an ironical significance, it was hidden by the hearty and honest friendliness of his keen, dark eyes as he delivered this farewell.

The older man’s ascetic face relaxed a little. “You are a good fellow, Harrison, and I’m sure I wish you any strange sort of success you happen to desire.”

“Same to you, Professor. If I thought it would do any good, I’d run down from Paris to Munich . . . and try scaring the editor of the Central-Blatt2 (a scholarly journal) into admitting that you’re right about that second clause in the treaty of Utrecht.”

Professor Endicott fell back into severity. “I’m afraid,” he observed, returning to the papers on his desk, “I’m afraid that would not be a very efficacious method of determining a question of historical accuracy.”

Harrison settled his soft hat firmly on his head. “I suppose you’re right,” he remarked; adding as he disappeared through the door, “But more’s the pity!”

In a well-written essay, analyze how Fisher uses literary elements and techniques to convey the complex relationship between Harrison and Professor Endicott.

A
Analyze how Fisher uses literary elements and techniques to convey the complex relationship between Harrison and Professor Endicott.
4
Intermediate Passage 4: A White Heron

Half a mile from home, at the farther edge of the woods, where the land was highest, a great pine-tree stood, the last of its generation. Whether it was left for a boundary mark, or for what reason, no one could say; the woodchoppers who had felled its mates were dead and gone long ago, and a whole forest of sturdy trees, pines and oaks and maples, had grown again. But the stately head of this old pine towered above them all and made a landmark for sea and shore miles and miles away. Sylvia knew it well. She had always believed that whoever climbed to the top of it could see the ocean; and the little girl had often laid her hand on the great rough trunk and looked up wistfully at those dark boughs that the wind always stirred, no matter how hot and still the air might be below. . .

There was the huge tree asleep yet in the paling moonlight, and small and silly Sylvia began with utmost bravery to mount to the top of it, with tingling, eager blood coursing the channels of her whole frame, with her bare feet and fingers, that pinched and held like a bird's claws to the monstrous ladder reaching up, up, almost to the sky itself. First she must mount the white oak tree that grew alongside, where she was almost lost among the dark branches and the green leaves heavy and wet with dew; a bird fluttered off its nest, and a red squirrel ran to and fro and scolded pettishly at the harmless housebreaker. Sylvia felt her way easily. She had often climbed there, and knew that higher still one of the oak's upper branches chafed against the pine trunk, just where its lower boughs were set close together. There, when she made the dangerous pass from one tree to the other, the great enterprise would really begin.

She crept out along the swaying oak limb at last, and took the daring step across into the old pine-tree. The way was harder than she thought; she must reach far and hold fast, the sharp dry twigs caught and held her and scratched her like angry talons, the pitch made her thin little fingers clumsy and stiff as she went round and round the tree's great stem. . .

The tree seemed to lengthen itself out as she went up, and to reach farther and farther upward. It was like a great main-mast to the voyaging earth; it must truly have been amazed that morning through all its ponderous frame as it felt this determined spark of human spirit creeping and climbing from higher branch to branch. Who knows how steadily the least twigs held themselves to advantage this light, weak creature on her way! The old pine must have loved his new dependent. More than all the hawks, and bats, and moths, and even the sweet-voiced thrushes, was the brave, beating heart of the solitary gray-eyed child. And the tree stood still and held away the winds that June morning while the dawn grew bright in the east.

Sylvia's face was like a pale star, if one had seen it from the ground, when the last thorny bough was past, and she stood trembling and tired but wholly triumphant, high in the tree-top. Yes, there was the sea with the dawning sun making a golden dazzle over it, and toward that glorious east flew two hawks with slow-moving pinions. How low they looked in the air from that height when before one had only seen them far up, and dark against the blue sky. Their gray feathers were as soft as moths; they seemed only a little way from the tree, and Sylvia felt as if she too could go flying away among the clouds. Westward, the woodlands and farms reached miles and miles into the distance; here and there were church steeples, and white villages; truly it was a vast and awesome world.

In a well-written essay, analyze how Jewett uses literary elements and techniques to develop the young heroine’s adventure.

A
Analyze how Jewett uses literary elements and techniques to develop Sylvia’s adventure.
5
Intermediate Passage 5: Adam Bede

Leisure is gone—gone where the spinning-wheels are gone, and the pack-horses, and the slow waggons, and the pedlars, who brought bargains to the door on sunny afternoons. Ingenious philosophers tell you, perhaps, that the great work of the steam-engine is to create leisure for mankind. Do not believe them: it only creates a vacuum for eager thought to rush in. Even idleness is eager now—eager for amusement: prone to excursion-trains, art-museums, periodical literature, and exciting novels: prone even to scientific theorising, and cursory peeps through microscopes. Old Leisure was quite a different personage: he only read one newspaper, innocent of leaders, and was free from that periodicity of sensations which we call post-time. He was a contemplative, rather stout gentleman, of excellent digestion,—of quiet perceptions, undiseased by hypothesis: happy in his inability to know the causes of things, preferring the things themselves. He lived chiefly in the country, among pleasant seats and homesteads, and was fond of sauntering by the fruit-tree wall, and scenting the apricots when they were warmed by the morning sunshine, or of sheltering himself under the orchard boughs at noon, when the summer pears were falling. He knew nothing of weekday services, and thought none the worse of the Sunday sermon if it allowed him to sleep from the text to the blessing—liking the afternoon service best, because the prayers were the shortest, and not ashamed to say so; for he had an easy, jolly conscience, broad-backed like himself, and able to carry a great deal of beer or port-wine,—not being made squeamish by doubts and qualms and lofty aspirations. Life was not a task to him, but a sinecure: he fingered the guineas in his pocket, and ate his dinners, and slept the sleep of the irresponsible; for had he not kept up his charter by going to church on the Sunday afternoons?

Fine old Leisure! Do not be severe upon him, and judge him by our modern standard: he never went to Exeter Hall, or heard a popular preacher, or read Tracts for the Times or Sartor Resartus.*

—George Eliot, Adam Bede—1859

*Religious, political, and philosophical works published between 1833 and 1841

In a well-written essay, analyze how Eliot uses literary elements and techniques to convey her complex views on “old Leisure” and on leisure in the society of her own time.

A
Analyze how Eliot uses literary elements and techniques to convey her complex views on “old Leisure” and on leisure in the society of her own time.
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