1.fully observe, analysis and annotate the text 2. write a 3 paragraph persuasive essay -including an introduction with thesis, textual argument (P.I.E) paragraph and smooth transitions into a conclusion paragraph- in which you show how the writer uses a specific literary or rhetorical device to characterize Mr. and Mrs. Monarch.Use the excerpt as supportive evidence within your response
writing.docx

Unformatted Attachment Preview

HMS 100
Fall 2018
Instructor Shmulevsky
Final Exam
Final Exam:
Thursday, December 4, 2018 5-6:20pm
EXAM STRUCTURE:
1. Assess a short passage with observation, analysis, and annotation (300-500 words) (10
points)
2. Respond to an essay question in response to passage (with a 3 paragraph essay including introduction with thesis, textual argument, and smooth transition into
conclusion) (60 points)
3. Exercise a Skills Assessment and Reflection – provide thorough identification of three
skills and reflect upon how you applied them in your own written passage (with direct
textual examples from your own writing) (30 points)
Part One: Passage Analysis
From
Henry James
The real thing
Assess the short passage with observation, analysis, and annotation (300-500 words) (10 points)
“Ah, you’re—you’re—a—?” I began, as soon as I had mastered my surprise. I couldn’t
bring out the dingy word “models”; it seemed to fit the case so little.
“We haven’t had much practice,” said the lady.
“We’ve got to do something, and we’ve thought that an artist in your line might perhaps
make something of us,” her husband threw off. He further mentioned that they didn’t know
many artists and that they had gone first, on the off-chance (he painted views of course, but
sometimes put in figures—perhaps I remembered), to Mr. Rivet, whom they had met a few years
before at a place in Norfolk where he was sketching.
“We used to sketch a little ourselves,” the lady hinted.
“It’s very awkward, but we absolutely must do something,” her husband went on.
“Of course, we’re not so very young,” she admitted, with a wan smile.
With the remark that I might as well know something more about them, the husband had
handed me a card extracted from a neat new pocket-book (their appurtenances were all of the
freshest) and inscribed with the words “Major Monarch.” Impressive as these words were they
didn’t carry my knowledge much further; but my visitor presently added: “I’ve left the army, and
we’ve had the misfortune to lose our money. In fact our means are dreadfully small.”
“It’s an awful bore,” said Mrs. Monarch.
They evidently wished to be discreet—to take care not to swagger because they were
gentlefolks. I perceived they would have been willing to recognise this as something of a
drawback, at the same time that I guessed at an underlying sense—their consolation in
adversity—that they had their points. They certainly had; but these advantages struck me as
preponderantly social; such for instance as would help to make a drawing-room look well.
However, a drawing-room was always, or ought to be, a picture.
In consequence of his wife’s allusion to their age Major Monarch observed: “Naturally,
it’s more for the figure that we thought of going in. We can still hold ourselves up.” On the
instant I saw that the figure was indeed their strong point. His “naturally” didn’t sound vain, but
it lighted up the question. “She has got the best,” he continued, nodding at his wife, with a
pleasant after-dinner absence of circumlocution. I could only reply, as if we were in fact sitting
over our wine, that this didn’t prevent his own from being very good; which led him in turn to
rejoin: “We thought that if you ever have to do people like us, we might be something like it.
She, particularly—for a lady in a book, you know.”
I was so amused by them that, to get more of it, I did my best to take their point of view;
and though it was an embarrassment to find myself appraising physically, as if they were animals
on hire or useful blacks, a pair whom I should have expected to meet only in one of the relations
in which criticism is tacit, I looked at Mrs. Monarch judicially enough to be able to exclaim, after
a moment, with conviction: “Oh yes, a lady in a book!” She was singularly like a bad
illustration.
“We’ll stand up, if you like,” said the Major; and he raised himself before me with a
really grand air.
I could take his measure at a glance—he was six feet two and a perfect gentleman. It
would have paid any club in process of formation and in want of a stamp to engage him at a
salary to stand in the principal window. What struck me immediately was that in coming to me
they had rather missed their vocation; they could surely have been turned to better account for
advertising purposes. I couldn’t of course see the thing in detail, but I could see them make
someone’s fortune—I don’t mean their own. There was something in them for a waistcoatmaker, an hotel-keeper or a soap-vendor. I could imagine “We always use it” pinned on their
bosoms with the greatest effect; I had a vision of the promptitude with which they would launch
a table d’hôte.
Mrs. Monarch sat still, not from pride but from shyness, and presently her husband said
to her: “Get up my dear and show how smart you are.” She obeyed, but she had no need to get
up to show it. She walked to the end of the studio, and then she came back blushing, with her
fluttered eyes on her husband. I was reminded of an incident I had accidentally had a glimpse of
in Paris—being with a friend there, a dramatist about to produce a play—when an actress came
to him to ask to be entrusted with a part. She went through her paces before him, walked up and
down as Mrs. Monarch was doing. Mrs. Monarch did it quite as well, but I abstained from
applauding. It was very odd to see such people apply for such poor pay. She looked as if she
had ten thousand a year. Her husband had used the word that described her: she was, in the
London current jargon, essentially and typically “smart.” Her figure was, in the same order of
ideas, conspicuously and irreproachably “good.” For a woman of her age her waist was
surprisingly small; her elbow moreover had the orthodox crook. She held her head at the
conventional angle; but why did she come to me? She ought to have tried on jackets at a big
shop. I feared my visitors were not only destitute, but “artistic”—which would be a great
complication. When she sat down again I thanked her, observing that what a draughtsman most
valued in his model was the faculty of keeping quiet.
Part Two: Essay Question
Write a 3 paragraph persuasive essay – including introduction with thesis, textual argument
(P.I.E.), and smooth transition into conclusion – in which you argue ….
Use the excerpt as supportive evidence within your response. (60 points)
Part Three: Skills Assessment and Reflection
Thoughtfully define three skills and reflect upon how you’ve applied them in your written
response to the prompt. Your reflection will include direct textual evidence from your written
answer.
1. Thesis Development
main argument
2. Topic Sentences
a sentence that expresses the main idea of the paragraph in which it occurs.
3. Integration of Sources/ Selecting Direct Textual Evidence
4. Proper In-text Citation
Where the source come from
5. Analysis – Close Reading – Treatment of Evidence
Breaking down the quote
6. Paragraph Construction
PIE
Ideas logically idea
7. Transitions
They improve the connections and transitions between sentences and paragraphs
8. Writing Strong Introductions
Hook
9. Writing Strong Conclusions
Re-state the thesis/ expand

Purchase answer to see full
attachment