Figure of Speec...

Directions: Read the passage carefully and answer the questions that follow.

As she named the Empress, Anna Pavlovna’s face suddenly assumed an expression of profound and sincere devotion and respect, mingled with sadness, and this occurred every time she mentioned her illustrious patroness. She added that her Majesty had deigned to show Baron Funke beaucoup d’estime, and again her face clouded over with sadness.

The prince was silent and looked indifferent. But, with the womanly and courtier-like quickness and tact habitual to her, Anna Pavlovna wished both to rebuke him (for daring to speak as he had done of a man recommended to the Empress) and at the same time to console him, so she said— ‘Mais à propos de votre famille, did you know your daughter, since she came out, fait les délices de tout le monde. On la trouve belle, comme le jour.’2 The prince bowed to signify his respect and gratitude.

‘I often think,’ she continued after a short pause, drawing nearer to the prince and smiling amiably at him as if to show that political and social topics were ended and the time had come for intimate conversation—‘I often think how unfairly sometimes the joys of life are distributed. Why has fate given you two such splendid children? I don’t speak of Anatole, your youngest. I don’t like him,’ she added in a tone admitting of no rejoinder and raising her eyebrows. ‘Two such charming children. And really you appreciate them less than anyone, and so you don’t deserve to have them.’

And she smiled her ecstatic smile. ‘Que voulez-vous? Lafater aurait dAs she named the Empress, Anna Pavlovna’s face suddenly assumed an expression of profound and sincere devotion and respect, mingled with sadness, and this occurred every time she mentioned her illustrious patroness. She added that her Majesty had deigned to show Baron Funke beaucoup d’estime, and again her face clouded over with sadness. The prince was silent and looked indifferent. But, with the womanly and courtier-like quickness and tact habitual to her, Anna Pavlovna wished both to rebuke him (for daring to speak as he had done of a man recommended to the Empress) and at the same time to console him, so she said— ‘Mais à propos de votre famille, did you know your daughter, since she came out, fait les délices de tout le monde. On la trouve belle, comme le jour.’2 The prince bowed to signify his respect and gratitude.

‘I often think,’ she continued after a short pause, drawing nearer to the prince and smiling amiably at him as if to show that political and social topics were ended and the time had come for intimate conversation—‘I often think how unfairly sometimes the joys of life are distributed. Why has fate given you two such splendid children? I don’t speak of Anatole, your youngest. I don’t like him,’ she added in a tone admitting of no rejoinder and raising her eyebrows. ‘Two such charming children.

[Extracts from WAR AND PEACE Translated with Notes by LOUISE and AYLMER MAUDE Revised and Edited with an Introduction by AMY MANDELKER]

Directions: Read the passage carefully and answer the questions that follow.

As she named the Empress, Anna Pavlovna’s face suddenly assumed an expression of profound and sincere devotion and respect, mingled with sadness, and this occurred every time she mentioned her illustrious patroness. She added that her Majesty had deigned to show Baron Funke beaucoup d’estime, and again her face clouded over with sadness.

The prince was silent and looked indifferent. But, with the womanly and courtier-like quickness and tact habitual to her, Anna Pavlovna wished both to rebuke him (for daring to speak as he had done of a man recommended to the Empress) and at the same time to console him, so she said— ‘Mais à propos de votre famille, did you know your daughter, since she came out, fait les délices de tout le monde. On la trouve belle, comme le jour.’2 The prince bowed to signify his respect and gratitude.

‘I often think,’ she continued after a short pause, drawing nearer to the prince and smiling amiably at him as if to show that political and social topics were ended and the time had come for intimate conversation—‘I often think how unfairly sometimes the joys of life are distributed. Why has fate given you two such splendid children? I don’t speak of Anatole, your youngest. I don’t like him,’ she added in a tone admitting of no rejoinder and raising her eyebrows. ‘Two such charming children. And really you appreciate them less than anyone, and so you don’t deserve to have them.’

And she smiled her ecstatic smile. ‘Que voulez-vous? Lafater aurait dAs she named the Empress, Anna Pavlovna’s face suddenly assumed an expression of profound and sincere devotion and respect, mingled with sadness, and this occurred every time she mentioned her illustrious patroness. She added that her Majesty had deigned to show Baron Funke beaucoup d’estime, and again her face clouded over with sadness. The prince was silent and looked indifferent. But, with the womanly and courtier-like quickness and tact habitual to her, Anna Pavlovna wished both to rebuke him (for daring to speak as he had done of a man recommended to the Empress) and at the same time to console him, so she said— ‘Mais à propos de votre famille, did you know your daughter, since she came out, fait les délices de tout le monde. On la trouve belle, comme le jour.’2 The prince bowed to signify his respect and gratitude.

‘I often think,’ she continued after a short pause, drawing nearer to the prince and smiling amiably at him as if to show that political and social topics were ended and the time had come for intimate conversation—‘I often think how unfairly sometimes the joys of life are distributed. Why has fate given you two such splendid children? I don’t speak of Anatole, your youngest. I don’t like him,’ she added in a tone admitting of no rejoinder and raising her eyebrows. ‘Two such charming children.

[Extracts from WAR AND PEACE Translated with Notes by LOUISE and AYLMER MAUDE Revised and Edited with an Introduction by AMY MANDELKER]

Directions: Read the passage carefully and answer the questions that follow.

As she named the Empress, Anna Pavlovna’s face suddenly assumed an expression of profound and sincere devotion and respect, mingled with sadness, and this occurred every time she mentioned her illustrious patroness. She added that her Majesty had deigned to show Baron Funke beaucoup d’estime, and again her face clouded over with sadness.

The prince was silent and looked indifferent. But, with the womanly and courtier-like quickness and tact habitual to her, Anna Pavlovna wished both to rebuke him (for daring to speak as he had done of a man recommended to the Empress) and at the same time to console him, so she said— ‘Mais à propos de votre famille, did you know your daughter, since she came out, fait les délices de tout le monde. On la trouve belle, comme le jour.’2 The prince bowed to signify his respect and gratitude.

‘I often think,’ she continued after a short pause, drawing nearer to the prince and smiling amiably at him as if to show that political and social topics were ended and the time had come for intimate conversation—‘I often think how unfairly sometimes the joys of life are distributed. Why has fate given you two such splendid children? I don’t speak of Anatole, your youngest. I don’t like him,’ she added in a tone admitting of no rejoinder and raising her eyebrows. ‘Two such charming children. And really you appreciate them less than anyone, and so you don’t deserve to have them.’

And she smiled her ecstatic smile. ‘Que voulez-vous? Lafater aurait dAs she named the Empress, Anna Pavlovna’s face suddenly assumed an expression of profound and sincere devotion and respect, mingled with sadness, and this occurred every time she mentioned her illustrious patroness. She added that her Majesty had deigned to show Baron Funke beaucoup d’estime, and again her face clouded over with sadness. The prince was silent and looked indifferent. But, with the womanly and courtier-like quickness and tact habitual to her, Anna Pavlovna wished both to rebuke him (for daring to speak as he had done of a man recommended to the Empress) and at the same time to console him, so she said— ‘Mais à propos de votre famille, did you know your daughter, since she came out, fait les délices de tout le monde. On la trouve belle, comme le jour.’2 The prince bowed to signify his respect and gratitude.

‘I often think,’ she continued after a short pause, drawing nearer to the prince and smiling amiably at him as if to show that political and social topics were ended and the time had come for intimate conversation—‘I often think how unfairly sometimes the joys of life are distributed. Why has fate given you two such splendid children? I don’t speak of Anatole, your youngest. I don’t like him,’ she added in a tone admitting of no rejoinder and raising her eyebrows. ‘Two such charming children.

[Extracts from WAR AND PEACE Translated with Notes by LOUISE and AYLMER MAUDE Revised and Edited with an Introduction by AMY MANDELKER]

Directions: Read the passage carefully and answer the questions that follow.

As she named the Empress, Anna Pavlovna’s face suddenly assumed an expression of profound and sincere devotion and respect, mingled with sadness, and this occurred every time she mentioned her illustrious patroness. She added that her Majesty had deigned to show Baron Funke beaucoup d’estime, and again her face clouded over with sadness.

The prince was silent and looked indifferent. But, with the womanly and courtier-like quickness and tact habitual to her, Anna Pavlovna wished both to rebuke him (for daring to speak as he had done of a man recommended to the Empress) and at the same time to console him, so she said— ‘Mais à propos de votre famille, did you know your daughter, since she came out, fait les délices de tout le monde. On la trouve belle, comme le jour.’2 The prince bowed to signify his respect and gratitude.

‘I often think,’ she continued after a short pause, drawing nearer to the prince and smiling amiably at him as if to show that political and social topics were ended and the time had come for intimate conversation—‘I often think how unfairly sometimes the joys of life are distributed. Why has fate given you two such splendid children? I don’t speak of Anatole, your youngest. I don’t like him,’ she added in a tone admitting of no rejoinder and raising her eyebrows. ‘Two such charming children. And really you appreciate them less than anyone, and so you don’t deserve to have them.’

And she smiled her ecstatic smile. ‘Que voulez-vous? Lafater aurait dAs she named the Empress, Anna Pavlovna’s face suddenly assumed an expression of profound and sincere devotion and respect, mingled with sadness, and this occurred every time she mentioned her illustrious patroness. She added that her Majesty had deigned to show Baron Funke beaucoup d’estime, and again her face clouded over with sadness. The prince was silent and looked indifferent. But, with the womanly and courtier-like quickness and tact habitual to her, Anna Pavlovna wished both to rebuke him (for daring to speak as he had done of a man recommended to the Empress) and at the same time to console him, so she said— ‘Mais à propos de votre famille, did you know your daughter, since she came out, fait les délices de tout le monde. On la trouve belle, comme le jour.’2 The prince bowed to signify his respect and gratitude.

‘I often think,’ she continued after a short pause, drawing nearer to the prince and smiling amiably at him as if to show that political and social topics were ended and the time had come for intimate conversation—‘I often think how unfairly sometimes the joys of life are distributed. Why has fate given you two such splendid children? I don’t speak of Anatole, your youngest. I don’t like him,’ she added in a tone admitting of no rejoinder and raising her eyebrows. ‘Two such charming children.

[Extracts from WAR AND PEACE Translated with Notes by LOUISE and AYLMER MAUDE Revised and Edited with an Introduction by AMY MANDELKER]

Directions: Read the passage carefully and answer the questions that follow.

As she named the Empress, Anna Pavlovna’s face suddenly assumed an expression of profound and sincere devotion and respect, mingled with sadness, and this occurred every time she mentioned her illustrious patroness. She added that her Majesty had deigned to show Baron Funke beaucoup d’estime, and again her face clouded over with sadness.

The prince was silent and looked indifferent. But, with the womanly and courtier-like quickness and tact habitual to her, Anna Pavlovna wished both to rebuke him (for daring to speak as he had done of a man recommended to the Empress) and at the same time to console him, so she said— ‘Mais à propos de votre famille, did you know your daughter, since she came out, fait les délices de tout le monde. On la trouve belle, comme le jour.’2 The prince bowed to signify his respect and gratitude.

‘I often think,’ she continued after a short pause, drawing nearer to the prince and smiling amiably at him as if to show that political and social topics were ended and the time had come for intimate conversation—‘I often think how unfairly sometimes the joys of life are distributed. Why has fate given you two such splendid children? I don’t speak of Anatole, your youngest. I don’t like him,’ she added in a tone admitting of no rejoinder and raising her eyebrows. ‘Two such charming children. And really you appreciate them less than anyone, and so you don’t deserve to have them.’

And she smiled her ecstatic smile. ‘Que voulez-vous? Lafater aurait dAs she named the Empress, Anna Pavlovna’s face suddenly assumed an expression of profound and sincere devotion and respect, mingled with sadness, and this occurred every time she mentioned her illustrious patroness. She added that her Majesty had deigned to show Baron Funke beaucoup d’estime, and again her face clouded over with sadness. The prince was silent and looked indifferent. But, with the womanly and courtier-like quickness and tact habitual to her, Anna Pavlovna wished both to rebuke him (for daring to speak as he had done of a man recommended to the Empress) and at the same time to console him, so she said— ‘Mais à propos de votre famille, did you know your daughter, since she came out, fait les délices de tout le monde. On la trouve belle, comme le jour.’2 The prince bowed to signify his respect and gratitude.

‘I often think,’ she continued after a short pause, drawing nearer to the prince and smiling amiably at him as if to show that political and social topics were ended and the time had come for intimate conversation—‘I often think how unfairly sometimes the joys of life are distributed. Why has fate given you two such splendid children? I don’t speak of Anatole, your youngest. I don’t like him,’ she added in a tone admitting of no rejoinder and raising her eyebrows. ‘Two such charming children.

[Extracts from WAR AND PEACE Translated with Notes by LOUISE and AYLMER MAUDE Revised and Edited with an Introduction by AMY MANDELKER]

Directions: Read the passage carefully and answer the questions that follow.

The invention of photography revolutionized the world of art and challenged traditional notions of representation. Before its emergence, paintings and drawings were the primary means of capturing and preserving visual imagery.

However, with the advent of photography, artists faced a new dilemma. Should they continue to strive for realism and meticulous detail in their work or embrace the unique qualities and possibilities offered by this new medium? Some artists, like the French painter Gustave Courbet, chose to defy convention and explore the unfiltered reality captured by photography. Courbet believed that art should reflect the truth of human experience, and he saw photography as a tool that could aid in this pursuit. His paintings often depicted everyday scenes and ordinary people, presenting a raw and unidealized worldview.

On the other hand, some artists viewed photography as a threat to the traditional role of painting. They argued that photography could reproduce reality with such accuracy that it rendered the need for paintings obsolete. These artists, such as the American painter Thomas Eakins, sought to reaffirm the unique, expressive power of painting. They focused on capturing the essence of their subjects through brushwork, colour, and composition, emphasizing the personal interpretation and emotional depth that photography could not replicate.

The tension between photography and painting gave rise to new artistic movements and debates about the nature of art. Some artists embraced the possibilities of combining both mediums, experimenting with techniques such as photo-realism and collage. Others continued to champion the distinct qualities of painting, pushing the boundaries of abstraction and expressionism.

In the end, the emergence of photography challenged artists to redefine their purpose and explore new avenues of creative expression. It sparked a dialogue about the relationship between art and reality and ultimately expanded the boundaries of artistic practice.

Directions: Read the passage carefully and answer the questions that follow.

The invention of photography revolutionized the world of art and challenged traditional notions of representation. Before its emergence, paintings and drawings were the primary means of capturing and preserving visual imagery.

However, with the advent of photography, artists faced a new dilemma. Should they continue to strive for realism and meticulous detail in their work or embrace the unique qualities and possibilities offered by this new medium? Some artists, like the French painter Gustave Courbet, chose to defy convention and explore the unfiltered reality captured by photography. Courbet believed that art should reflect the truth of human experience, and he saw photography as a tool that could aid in this pursuit. His paintings often depicted everyday scenes and ordinary people, presenting a raw and unidealized worldview.

On the other hand, some artists viewed photography as a threat to the traditional role of painting. They argued that photography could reproduce reality with such accuracy that it rendered the need for paintings obsolete. These artists, such as the American painter Thomas Eakins, sought to reaffirm the unique, expressive power of painting. They focused on capturing the essence of their subjects through brushwork, colour, and composition, emphasizing the personal interpretation and emotional depth that photography could not replicate.

The tension between photography and painting gave rise to new artistic movements and debates about the nature of art. Some artists embraced the possibilities of combining both mediums, experimenting with techniques such as photo-realism and collage. Others continued to champion the distinct qualities of painting, pushing the boundaries of abstraction and expressionism.

In the end, the emergence of photography challenged artists to redefine their purpose and explore new avenues of creative expression. It sparked a dialogue about the relationship between art and reality and ultimately expanded the boundaries of artistic practice.

Directions: Read the passage carefully and answer the questions that follow.

The invention of photography revolutionized the world of art and challenged traditional notions of representation. Before its emergence, paintings and drawings were the primary means of capturing and preserving visual imagery.

However, with the advent of photography, artists faced a new dilemma. Should they continue to strive for realism and meticulous detail in their work or embrace the unique qualities and possibilities offered by this new medium? Some artists, like the French painter Gustave Courbet, chose to defy convention and explore the unfiltered reality captured by photography. Courbet believed that art should reflect the truth of human experience, and he saw photography as a tool that could aid in this pursuit. His paintings often depicted everyday scenes and ordinary people, presenting a raw and unidealized worldview.

On the other hand, some artists viewed photography as a threat to the traditional role of painting. They argued that photography could reproduce reality with such accuracy that it rendered the need for paintings obsolete. These artists, such as the American painter Thomas Eakins, sought to reaffirm the unique, expressive power of painting. They focused on capturing the essence of their subjects through brushwork, colour, and composition, emphasizing the personal interpretation and emotional depth that photography could not replicate.

The tension between photography and painting gave rise to new artistic movements and debates about the nature of art. Some artists embraced the possibilities of combining both mediums, experimenting with techniques such as photo-realism and collage. Others continued to champion the distinct qualities of painting, pushing the boundaries of abstraction and expressionism.

In the end, the emergence of photography challenged artists to redefine their purpose and explore new avenues of creative expression. It sparked a dialogue about the relationship between art and reality and ultimately expanded the boundaries of artistic practice.

Directions: Read the passage carefully and answer the questions that follow.

The invention of photography revolutionized the world of art and challenged traditional notions of representation. Before its emergence, paintings and drawings were the primary means of capturing and preserving visual imagery.

However, with the advent of photography, artists faced a new dilemma. Should they continue to strive for realism and meticulous detail in their work or embrace the unique qualities and possibilities offered by this new medium? Some artists, like the French painter Gustave Courbet, chose to defy convention and explore the unfiltered reality captured by photography. Courbet believed that art should reflect the truth of human experience, and he saw photography as a tool that could aid in this pursuit. His paintings often depicted everyday scenes and ordinary people, presenting a raw and unidealized worldview.

On the other hand, some artists viewed photography as a threat to the traditional role of painting. They argued that photography could reproduce reality with such accuracy that it rendered the need for paintings obsolete. These artists, such as the American painter Thomas Eakins, sought to reaffirm the unique, expressive power of painting. They focused on capturing the essence of their subjects through brushwork, colour, and composition, emphasizing the personal interpretation and emotional depth that photography could not replicate.

The tension between photography and painting gave rise to new artistic movements and debates about the nature of art. Some artists embraced the possibilities of combining both mediums, experimenting with techniques such as photo-realism and collage. Others continued to champion the distinct qualities of painting, pushing the boundaries of abstraction and expressionism.

In the end, the emergence of photography challenged artists to redefine their purpose and explore new avenues of creative expression. It sparked a dialogue about the relationship between art and reality and ultimately expanded the boundaries of artistic practice.

Directions: Read the passage carefully and answer the questions that follow.

The invention of photography revolutionized the world of art and challenged traditional notions of representation. Before its emergence, paintings and drawings were the primary means of capturing and preserving visual imagery.

However, with the advent of photography, artists faced a new dilemma. Should they continue to strive for realism and meticulous detail in their work or embrace the unique qualities and possibilities offered by this new medium? Some artists, like the French painter Gustave Courbet, chose to defy convention and explore the unfiltered reality captured by photography. Courbet believed that art should reflect the truth of human experience, and he saw photography as a tool that could aid in this pursuit. His paintings often depicted everyday scenes and ordinary people, presenting a raw and unidealized worldview.

On the other hand, some artists viewed photography as a threat to the traditional role of painting. They argued that photography could reproduce reality with such accuracy that it rendered the need for paintings obsolete. These artists, such as the American painter Thomas Eakins, sought to reaffirm the unique, expressive power of painting. They focused on capturing the essence of their subjects through brushwork, colour, and composition, emphasizing the personal interpretation and emotional depth that photography could not replicate.

The tension between photography and painting gave rise to new artistic movements and debates about the nature of art. Some artists embraced the possibilities of combining both mediums, experimenting with techniques such as photo-realism and collage. Others continued to champion the distinct qualities of painting, pushing the boundaries of abstraction and expressionism.

In the end, the emergence of photography challenged artists to redefine their purpose and explore new avenues of creative expression. It sparked a dialogue about the relationship between art and reality and ultimately expanded the boundaries of artistic practice.