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Question 1
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
15%
(low)
Question Stats:
80% (03:15) correct
20%
(03:03) wrong
based on 366
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
C
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
15%
(low)
Question Stats:
76% (00:54) correct 24%
(01:14) wrong
based on 440
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
55%
(hard)
Question Stats:
47% (01:03) correct 53%
(01:13) wrong
based on 430
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
B
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
45%
(medium)
Question Stats:
50% (00:51) correct 50%
(00:52) wrong
based on 429
sessions
History
Date
Time
Result
Not Attempted Yet
Question 5
A
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
25%
(medium)
Question Stats:
65% (00:50) correct 35%
(01:08) wrong
based on 398
sessions
History
Date
Time
Result
Not Attempted Yet
Question 6
C
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
65%
(hard)
Question Stats:
50% (01:30) correct 50%
(01:24) wrong
based on 407
sessions
History
Date
Time
Result
Not Attempted Yet
Question 7
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
95%
(hard)
Question Stats:
32% (01:42) correct 68%
(01:44) wrong
based on 395
sessions
History
Date
Time
Result
Not Attempted Yet
The corrido, a type of narrative folk song, comes from a region half in Mexico and half in the United States known as the Lower Rio Grande Border. Corridos, which flourished from about 1836 to the late 1930s, are part of a long-standing ballad tradition that has roots in eighteenth-century Spain. Sung in Spanish, corridos combine formal features of several different types of folk songs, but their narratives consistently deal with subject matter specific to the Border region. For example, “El Corrido de Kiansis” (c. 1870), the oldest corrido surviving in complete form, records the first cattle drives to Kansas in the late 1860s. A single important event is likely to have inspired several corrido variants, yet the different versions of any given story all partake of standard generic elements. When sung at social gatherings, corridos served to commemorate significant local happenings, but more importantly, their heavy reliance on familiar linguistic and thematic conventions served to affirm the cohesiveness of Border communities.
Corridos take their name from the Spanish verb correr, meaning to run or to flow, for corridos tell their stories simply and swiftly, without embellishments. Figures of speech such as metaphors are generally rare in corridos, and when metaphors are used, they usually incorporate everyday images that are familiar to the songs’ listeners. In the popular “El Corrido de Gregorio Cortez,” for example, the hero Cortez, fighting off pursuers, uses the metaphor of a thunderstorm to boast that he has had harder fights than the one they gave him� “I have weathered thunderstorms� / This little mist doesn’t bother me.” Similar storm imagery is found in other corridos including “Kiansis,” which tells of stampedes caused by thunderstorms during the Kansas cattle drives. Such imagery, highly conventional and readily recognizable to corrido listeners, reflects and strengthens the continuity of the corrido tradition.
The corrido is composed not only of familiar images but also of certain ready-made lines that travel easily from one ballad to another. This is most evident in the corrido’s formal closing verse, or despedida. The despedida of one variant of “Gregorio Cortez” is translated as follows� “Now with this I say farewell In the shade of a cypress tree� / This is the end of the ballad / Of Don Gregorio Cortez.” The first and third lines are a set convention. The second and fourth lines are variable, the fourth carrying the name of the corrido or expressing its subject, and the second varying according to exigencies of rhyme. In the despedida, perhaps the clearest marker of both the corrido’s uniqueness and its generic continuity, the corrido’s maker asserts that the task of relating an authentic Border tale has been accomplished.
Corridos take their name from the Spanish verb correr, meaning to run or to flow, for corridos tell their stories simply and swiftly, without embellishments. Figures of speech such as metaphors are generally rare in corridos, and when metaphors are used, they usually incorporate everyday images that are familiar to the songs’ listeners. In the popular “El Corrido de Gregorio Cortez,” for example, the hero Cortez, fighting off pursuers, uses the metaphor of a thunderstorm to boast that he has had harder fights than the one they gave him� “I have weathered thunderstorms� / This little mist doesn’t bother me.” Similar storm imagery is found in other corridos including “Kiansis,” which tells of stampedes caused by thunderstorms during the Kansas cattle drives. Such imagery, highly conventional and readily recognizable to corrido listeners, reflects and strengthens the continuity of the corrido tradition.
The corrido is composed not only of familiar images but also of certain ready-made lines that travel easily from one ballad to another. This is most evident in the corrido’s formal closing verse, or despedida. The despedida of one variant of “Gregorio Cortez” is translated as follows� “Now with this I say farewell In the shade of a cypress tree� / This is the end of the ballad / Of Don Gregorio Cortez.” The first and third lines are a set convention. The second and fourth lines are variable, the fourth carrying the name of the corrido or expressing its subject, and the second varying according to exigencies of rhyme. In the despedida, perhaps the clearest marker of both the corrido’s uniqueness and its generic continuity, the corrido’s maker asserts that the task of relating an authentic Border tale has been accomplished.
1. Which one of the following most accurately expresses the main point of the passage?
(A) Corrido imagery is one of the clearest indicators of the unique cohesiveness of Border communities.
(B) The roots of the corrido in the eighteenth-century Spanish ballad tradition are revealed in corridos’ conventional themes and language.
(C) The corrido form, which depends on conventions such as ready-made lines, finds its ideal representation in “Gregorio Cortez.”
(D) Corridos are noted for their vivid use of imagery and their attention to local events.
(E) The corrido is a type of folk song that promotes cohesiveness in Border communities through the use of familiar conventions.
(A) Corrido imagery is one of the clearest indicators of the unique cohesiveness of Border communities.
(B) The roots of the corrido in the eighteenth-century Spanish ballad tradition are revealed in corridos’ conventional themes and language.
(C) The corrido form, which depends on conventions such as ready-made lines, finds its ideal representation in “Gregorio Cortez.”
(D) Corridos are noted for their vivid use of imagery and their attention to local events.
(E) The corrido is a type of folk song that promotes cohesiveness in Border communities through the use of familiar conventions.
2. According to the passage, which one of the following is characteristic of corridos?
(A) use of exaggeration to embellish Border events
(B) use of numerous figures of speech
(C) use of a formal closing verse
(D) use of complex rhyme schemes
(E) use of verses that combine Spanish and English
(A) use of exaggeration to embellish Border events
(B) use of numerous figures of speech
(C) use of a formal closing verse
(D) use of complex rhyme schemes
(E) use of verses that combine Spanish and English
3. Given its tone and content, from which one of the following was the passage most likely drawn?
(A) a brochure for contemporary tourists to the Lower Rio Grande Border
(B) a study focusing on the ballad’s influence on the music of eighteenth-century Spain
(C) an editorial in a contemporary newspaper from the Lower Rio Grande Border
(D) a treatise on the lives of famous natives of the Lower Rio Grande Border
(E) a book describing various North American folk song forms
(A) a brochure for contemporary tourists to the Lower Rio Grande Border
(B) a study focusing on the ballad’s influence on the music of eighteenth-century Spain
(C) an editorial in a contemporary newspaper from the Lower Rio Grande Border
(D) a treatise on the lives of famous natives of the Lower Rio Grande Border
(E) a book describing various North American folk song forms
4. Which one of the following is mentioned in the passage as an example of the use of metaphor in corridos?
(A) cattle drives
(B) mist
(C) a cypress tree
(D) a fight
(E) stampedes
(A) cattle drives
(B) mist
(C) a cypress tree
(D) a fight
(E) stampedes
5. The author discusses metaphor in the second paragraph primarily in order to
(A) elaborate on a claim about the directness of the language used in corridos
(B) counter the commonplace assertion that narrative is the main object of corridos
(C) emphasize the centrality of poetic language to corridos
(D) point out the longevity of the corrido tradition
(E) identify an element common to all variants of a particular corrido
(A) elaborate on a claim about the directness of the language used in corridos
(B) counter the commonplace assertion that narrative is the main object of corridos
(C) emphasize the centrality of poetic language to corridos
(D) point out the longevity of the corrido tradition
(E) identify an element common to all variants of a particular corrido
6. The passage provides the most support for inferring which one of the following?
(A) “El Corrido de Gregorio Cortez” was rarely sung at Border social gatherings.
(B) Most surviving corridos do not exist in complete form.
(C) All complete corridos have some lines in common.
(D) Most corrido variants have the same despedida.
(E) “El Corrido de Kiansis” was composed by someone not from the Border region.
(A) “El Corrido de Gregorio Cortez” was rarely sung at Border social gatherings.
(B) Most surviving corridos do not exist in complete form.
(C) All complete corridos have some lines in common.
(D) Most corrido variants have the same despedida.
(E) “El Corrido de Kiansis” was composed by someone not from the Border region.
7. The passage most strongly suggests that the author would agree with which one of the following statements?
(A) In at least some cases, the dependence of corridos on ready-made lines hindered the efforts of corrido makers to use metaphor effectively.
(B) The corrido is unique among ballad forms because it uses language that is familiar mainly to local audiences.
(C) Much of the imagery used in corridos can also be identified in ballads from Spain.
(D) The reportorial capability of corridos was probably enhanced by their freedom from the constraints of rhymed ballad forms.
(E) A corrido without a surviving despedida would probably still be identifiable as a corrido.
(A) In at least some cases, the dependence of corridos on ready-made lines hindered the efforts of corrido makers to use metaphor effectively.
(B) The corrido is unique among ballad forms because it uses language that is familiar mainly to local audiences.
(C) Much of the imagery used in corridos can also be identified in ballads from Spain.
(D) The reportorial capability of corridos was probably enhanced by their freedom from the constraints of rhymed ballad forms.
(E) A corrido without a surviving despedida would probably still be identifiable as a corrido.
22 Jan 2023, 11:05
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Explanation
7. The passage most strongly suggests that the author would agree with which one of the following statements?
Explanation
The question asks you to find an answer choice that is supported by the author’s statements in the passage. Refer to the text to find such support for one answer choice.
A. No. The passage does not argue that authors of corridos were attempting to use metaphor more effectively. The authors used metaphors to further their story telling.
B. No. The uniqueness of the corrido is that it tells stories about local subjects in a specific way. There is no indication that the language of the corrido is specific to a locale.
C. No. The passage states that the imagery is familiar to listeners but does not indicate that the images are similar to those in other Spanish ballads.
D. No. The passage does not compare corridos to other rhymed ballad forms.
E. Yes. The passage indicates several elements that all corridos have in common. An incomplete corrido may still be identified by its subject matter or other conventions of language and theme that are common to corridos.
Answer: E
Explanation
The question asks you to find an answer choice that is supported by the author’s statements in the passage. Refer to the text to find such support for one answer choice.
A. No. The passage does not argue that authors of corridos were attempting to use metaphor more effectively. The authors used metaphors to further their story telling.
B. No. The uniqueness of the corrido is that it tells stories about local subjects in a specific way. There is no indication that the language of the corrido is specific to a locale.
C. No. The passage states that the imagery is familiar to listeners but does not indicate that the images are similar to those in other Spanish ballads.
D. No. The passage does not compare corridos to other rhymed ballad forms.
E. Yes. The passage indicates several elements that all corridos have in common. An incomplete corrido may still be identified by its subject matter or other conventions of language and theme that are common to corridos.
Answer: E
27 Jan 2023, 00:39
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Explanation
4. Which one of the following is mentioned in the passage as an example of the use of metaphor in corridos?
Explanation
The question asks for a specific reference to a metaphor used in corridos. Refer to the second paragraph where the passage discusses the thunderstorm as a metaphor in two different corridos.
A. No. The passage does not mention cattle drives as a metaphor used in corridos.
B. Yes. The passage mentions “mist” as part of the storm metaphor used in “Gregorio Cortez.”
C. No. The use of “cypress tree” in “Gregorio Cortez” is not a metaphor.
D. No. The use of thunderstorms as a metaphor in “Gregorio Cortez” is used to describe a fight, but the fight is not used as a metaphor for something else.
E. No. The passage states that “Kansas” uses the thunderstorm metaphor to talk about stampedes, but stampedes are not used as a metaphor for something else.
Answer: B
Explanation
The question asks for a specific reference to a metaphor used in corridos. Refer to the second paragraph where the passage discusses the thunderstorm as a metaphor in two different corridos.
A. No. The passage does not mention cattle drives as a metaphor used in corridos.
B. Yes. The passage mentions “mist” as part of the storm metaphor used in “Gregorio Cortez.”
C. No. The use of “cypress tree” in “Gregorio Cortez” is not a metaphor.
D. No. The use of thunderstorms as a metaphor in “Gregorio Cortez” is used to describe a fight, but the fight is not used as a metaphor for something else.
E. No. The passage states that “Kansas” uses the thunderstorm metaphor to talk about stampedes, but stampedes are not used as a metaphor for something else.
Answer: B
