V. English Language Arts, Grade 10 A. Composition B .

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V. English Language Arts, Grade 10A. CompositionB. Language and Literature

Grade 10 English Language Arts TestTest StructureThe Grade 10 MCAS English Language Arts Test was presented in the following two parts: the ELA Composition Test, which assessed learning standards from the Massachusetts EnglishLanguage Arts Curriculum Framework’s Composition strand through a writing prompt the ELA Language and Literature Test, which assessed learning standards from the CurriculumFramework’s Language and Reading and Literature strands, and included multiple-choice andopen-response questions (items)A. CompositionThe spring 2004 Grade 10 MCAS English Language Arts Composition Test was based on learningstandards in the Composition strand of the Massachusetts English Language Arts Curriculum Framework(2001). These learning standards appear on pages 72-83 of the Framework, which is available on theDepartment website at www.doe.mass.edu/frameworks/ela/0601.pdf.In Test Item Analysis Reports and on the Subject Area Subscore pages of the MCAS School Reports andDistrict Reports, ELA Composition test results are reported under the Composition reporting category.Test Sessions and Content OverviewMCAS ELA Composition Student Test Booklets contained two separate test sessions, administered on thesame day with a short break between sessions. During the first session, each student wrote an initial draft ofa composition in response to the appropriate writing prompt on the next page. During the second session,each student revised his/her draft and submitted a final composition.Reference Materials and ToolsAt least one English-language dictionary per classroom was provided for student use during ELAComposition test sessions. No other reference materials or tools were allowed during either ELAComposition test session, with the exception of bilingual word-to-word dictionaries used by limitedEnglish proficient students.Cross-Reference InformationFramework general standards 19–22 are assessed by the ELA Composition.95

English Language Arts, Grade 10Grade 10 Writing PromptWRITING PROMPTHeroism can mean different things to different people. Literature is full ofcharacters that can be considered heroic.From a work of literature you have read in or out of school, select a character that,in your opinion, is heroic. In a well-developed composition, identify that characterand explain why he or she is heroic.Grade 10 Make-Up Writing PromptWRITING PROMPTThe difference between what one expects and what actually happens, or irony, isoften an important part of literature.Select a work of literature you have read in or out of school in which thereis a difference between what is expected and what actually happens. In awell-developed composition, explain the situation and tell why it is importantto the work you have chosen.96

B. Language and LiteratureThe spring 2004 Grade 10 MCAS English Language Arts Language and Literature Test was based onlearning standards in the two content strands of the Massachusetts English Language Arts CurriculumFramework (2001) listed below. Page numbers for the learning standards appear in parentheses. Language (Framework, pages 19-26) Reading and Literature (Framework, pages 35–64)The English Language Arts Curriculum Framework is available on the Department website atwww.doe.mass.edu/frameworks/ela/0601.pdf.In Test Item Analysis Reports and on the Subject Area Subscore pages of the MCAS School Reports andDistrict Reports, ELA Language and Literature test results are reported under two MCAS reportingcategories: Language and Reading and Literature.Test Sessions and Content OverviewThe grade 10 ELA Language and Literature Test included three separate test sessions. Sessions 1 and 2 wereadministered on the same day, and Session 3 was administered on the following day. Each session includedselected readings, followed by multiple-choice and open-response questions. Common reading passages andtest items are shown on the following pages as they appeared in test booklets. Due to copyright restrictions,certain reading selections cannot be released to the public on the website. All of these passages appear in theprinted version of this document.Reference Materials and ToolsNo reference materials or tools were allowed during any ELA Language and Literature test session, withthe exception of bilingual word-to-word dictionaries used by limited English proficient students.Cross-Reference InformationThe table at the conclusion of this chapter indicates each item’s reporting category and the Frameworkgeneral standard it assesses. The correct answers for multiple-choice questions are also displayed inthe table.97

HOW TO ANSWEROPEN-RESPONSE QUESTIONSBe sure to read all parts of each question carefully. make each response as clear, complete,and accurate as you can. check your answers.

English Language ArtsLANGUAGE AND LITERATURE: SESSION 1DIRECTIONSThis session contains three reading selections with seventeen multiple-choice questions andtwo open-response questions. Mark your answers to these questions in the spaces providedin your Student Answer Booklet.Moving1003I CArtCodeMoving1003I.AR1It sounds a bit like a contradiction in terms to say it is necessary to “move a landmark,” but when theAtlantic Ocean began to wash away the land upon which the historic Cape Hatteras Lighthouse wasbuilt, the lighthouse had to be relocated. Read this article to learn how modern engineering technologyeased the journey of this popular tourist attraction to safer ground. Use the information from the articleto answer the questions that follow.MovingBIGStuffIF YOU CAN MOVE A LIGHTHOUSE,YOU CAN MOVE ANYTHINGby WENDY MITMAN CLARKE12You would think that a 198-foot-tall,129-year-old lighthouse, perched upona fleet of hydraulic jacks and squatdollies conveying it gently along a steel-trackrunway, would at least have the decency togroan a little. Wouldn’t you? Gotta be, I thinkto myself, and lower my ears as close as I dareto one of the outboard dollies.Workers are scuttling all around andunderneath the structure as it inches along,checking hydraulic lines and the dollies’alignment, but I haven’t the nerve to go downthere. The thing does weigh 4,830 tons, afterall. That’s 9.7 million pounds, in case yourcalculator is not handy. So I just lean over,close my eyes and try to blank out the din oftrucks, generators and compressors all around,and listen only for the old lighthouse’s voice.99G10 ELA S1 2 04 Form 1

English Language Arts3456Session 1What has it to say about all this hoopla?Zip. Nada. Nothing. The dollies occasionallyemit a small squeak, like air escaping thepinched neck of a balloon, and once or twice Ihear one creak a little. Shavings of soap,rubbed on the tracks to slick the runway, curloff the steel until the dollies have passed andsquished them flatter than road pizza. That’s it.Here we are at what’s being called “the moveof the millennium,” and the movee—the CapeHatteras Lighthouse—seems impervious to1 allthe commotion. After withstanding more than acentury of the Atlantic maelstrom2 withoutbudging, the gleaming, candy-striped towersilently inches 2,900 feet to its new homesafely back from the eroding North Carolinabeach. And that’s just exactly how JerryMatyiko, the prime mover of the moment,wants it.One of Matyiko’s ham-hock hands is firmlyclamped around a radio and a badly gnawedcigar. His other hand is never far from the bankof levers and dials arrayed across a six-foot-tallred console, control central for the 100hydraulic jacks keeping the lighthouse on aneven keel. On top of the console is a computermonitor, linked to a sensor system, that showsthe vertical alignment of the lighthouse. A redring represents the top of the light, a blue ringits base. It goes without saying that keeping thered ring centered within the blue ring is rightup there with breathing on Matyiko’s“to do” list.Matyiko is president of Expert HouseMovers in Sharptown, Maryland, which isdoing the actual moving of the lighthouse.International Chimney Company of Buffalo,New York, is overseeing the entire project. Thetwo companies have worked together forseveral years moving ungodly tall and delicatestuff—skinny, brick-lined chimneys, historictheaters and three lighthouses in New England.But this lighthouse is the ungodliest tall andmost delicate of all, a symbol of the country’s78maritime past so evocative that people comehere from all over the country to risk a strokeclimbing its 257 steps, just to stand up there,gasping for breath, staring out across alimitless sea.It has taken decades to reach this point, asengineers studied the best ways to protect thelight from the ocean’s steady encroachment.Debate waxed and waned over whether it couldbe moved or even should be moved. Finally,Congress gave the National Park Service,which operates Cape Hatteras NationalSeashore and oversees the light, the go-aheadand 12 million. The first job was to sever thelighthouse from its foundation. Using a heavyduty saw with a diamond-encrusted cable asthe blade, workers sliced through the granitelike they were cutting a giant Bundt cake3 inhalf horizontally. Then came the lifting.Think about putting your ’57 Chevy up onblocks: first you jack up one corner and wedgea big block of oak under there to hold thatcorner up, then you follow suit with the otherthree corners. In a nutshell, that’s whatInternational Chimney did. As workers cut thefoundation, they chipped away at the graniteunderneath, breaking off two-foot sections at atime and filling the gap with steel shoringtowers resembling four-foot-square, upsidedown milk crates. Once the entire lighthouserested on those towers, workers slid seven steelbeams between them. Each was equipped withbuilt-in hydraulic jacks piggybacked on small,steel-rollered dollies that would become thelighthouse’s feet for the move. Then 15 crossbeams were threaded at 90-degree angles withthe seven main beams. This framework, whichwould serve as the lighthouse’s temporaryfoundation, comprised about 400 tons of steel.All the while, dump truck after dump truckunloaded some 10,000 tons of stone, whichwas graded and compacted to level thelighthouse’s path.1impervious to — not affected bymaelstrom — turbulence3Bundt cake — circular cake made with a special tube pan2100G10 ELA S1 2 04 Form 1

English Language Arts91011Session 1Then came the first real move—a verticalone. Painstakingly, over a week, the lighthousewas jacked up about six feet so it would belevel with the runway. To give the dolliessomething to roll on, seven “travel beams”were inserted beneath them, forming sevenlong steel tracks. Right in front of them on theroadway, workers laid down a huge steel matlike a giant red carpet, then extended the steeltracks onto the mat. This was the lighthouse’srunway; a mass of steel and bolts, it would bedismantled after the light passed over it, thencarried to the front and laid down again in agiant game of leapfrog. And what did theactual pushing? Five hydraulic rams, fournamed after the Matyiko brothers—Jerry, Jim,John and Joe—and one called Mr. Pete F., forPeter Friesen, Expert’s consulting engineer andmoving guru.Thousands of people have been coming hereeach day to see the lighthouse crawling along.Elderly women in broad-brimmed hatsdelicately pick their way through the flora,while fathers wielding camcorders troopthrough with babies slung on their backs. Ittakes about 45 seconds to a minute for therams to push the lighthouse five feet, the extentof their throw. Then there’s a pause of aboutfive minutes as the system recharges, like theslow breathing of some mechanical giant.Exhale. Inhale. Exhale. Inhale. At everyexhalation, someone in the crowd yells, “It’smoving! It’s moving!”Welcome to the world of big moves, wherethe question, “Can it be done?” is answeredwith meticulous4 hours of engineering, months412of planning, gobs of money, frequent allnighters, saintly patience and no small dose ofego. Whether it’s a historic lighthouse, apaddle wheeler, a chunk of rocket, a nuclearreactor, the torch for the Statue of Liberty, thethermal containment shield for the Three MileIsland nuclear plant or a fiberglass whale forSea World, it can be moved. There’s a hugedifference in engineering, planning andlogistics between moving a seeminglyimmovable object like the Cape HatterasLighthouse a few thousand feet behind a rowof sand dunes, and rigging a giant piece ofmachinery on a specially designed and builttrailer and trucking it a thousand miles.But both share the same basic problem: aneed to get from point A to point B. For either,the red tape is intimidating. Remember howmuch you love going to the motor vehiclesdepartment to get your license renewed afteraccidentally letting it expire? Magnify thatabout a thousand times. To obtain permits for afairly complex interstate move may takemonths, since every state, municipality andutility company affected gets involved. Thelogistics are mind-boggling. Only about sixcompanies in the entire country are capable ofhandling colossal moves like these, and themore complicated and challenging they are, themore these guys like it. “A lot of this is theexcitement of taking it on,” says Terry Emmert,owner of Emmert International, headquarteredin Clackamas, Oregon. “When someone says,‘You can’t do it, we’ve never issued a permitfor anything that big,’ those are the ones youwant to do.”.meticulous — very carefulBy Wendy Mitman Clarke.Photo copyright Mike Booher 1999.101G10 ELA S1 2 04 Form 1

English Language ArtsSession 13012436–Moving1003I C 13012434–Moving1003I C4 According to the article, what wasthe greatest challenge in moving theCape Hatteras Lighthouse?A. Citizen groups demonstrated againstchanging its location.A. It illustrates her affection forthe lighthouse.B. Finding competent workers to executethe tasks was difficult.B. It shows her annoyance withthe hoopla.C. The government did not want toallocate funds to pay for the job.C. It dramatically emphasizes her pointabout the silence. *D. The size of the structure made it hardto lift and to move. *D. It indicates an overall preferencefor slang.3012448–Moving1003I C 2What is one effect of the author using“Zip. Nada. Nothing.” to beginparagraph 4?3012445–Moving1003I C5 What is being personified in the firstsentence of paragraph 1?A. the squat dolliesWhat is one way the author emphasizesthe complexity of the moving operation?A. by showing Matyiko planning thedetails of the move with his brothersB. the hydraulic jacksB. by describing Matyiko directing themove from his console *C. the steel-track runwayD. the old lighthouse *C. by describing the cracking of the painton the lighthouse3012426–Moving1003I C3 D. by showing the thousands of spectatorsobserving the processWhat does the author do in paragraph 1 toconvey her fascination with the scene?A. She omits all technical terms thatmight confuse a general reader.3012438–Moving1003I C6 B. She provides an image of thelighthouse moving silently. *C. She uses an old story to generateinterest in the old lighthouse.In paragraph 5, what is one effect of theauthor’s saying that “keeping the red ringcentered within the blue ring is right upthere with breathing”?A. It shows Matyiko’s over-emphasison details.D. She supplies detail about thegovernmental agencies influencingthe decision.B. It illustrates the need for speed inoperating the sensor.C. It stresses the importance of keepingthe lighthouse upright. *D. It highlights Matyiko’s cooperationwith his employees.102G10 ELA S1 2 04 Form 1

English Language ArtsSession 13012442–Moving1003I C 73012439–Moving1003I C8 According to the article, what is the bestexplanation for Expert House Movers andInternational Chimney Company beingchosen to move the lighthouse?According to the article, why was thelighthouse worth saving?A. It is an important national treasure. *B. They entered the lowest bid for the job.B. State authorities spent too muchmoney on the lighthouse to let itbe destroyed.C. Their headquarters are nearCape Hatteras.C. It is a model of how “big moves”should be made.D. They have done similar jobs before. *D. Thousands of visitors expressed theirdesire to preserve the lighthouse.A. They work for the National Park Service.Write your answer to open-response question 9 in the space provided in your Student AnswerBooklet.3012440–Moving1003I C9 In the article, the author frequently uses non-technical language and explanations to describe thecomplex, technical process of moving a lighthouse. Identify at least three such examples andexplain how each one helps the reader understand the moving process. Use relevant and specificinformation from the article to support your answer.103G10 ELA S1 2 04 Form 1

English Language ArtsSession 110R0219L CCharles Dickens, a nineteenth-century English author, wrote about the Industrial Revolution. In thisexcerpt from the novel Hard Times, Dickens focuses his social commentary on an English milltown. Read the excerpt below and use information from it to answer the questions that follow.from Hard Timesby Charles Dickens123It was a town of red brick, or of brick that would have been red if the smoke and ashes hadallowed it; but as matters stood it was a town of unnatural red and black. . . . It was a town ofmachinery and tall chimneys, out of which interminable serpents of smoke trailed themselvesforever and ever, and never got uncoiled. It had a black canal in it, and a river that ran purple withill-smelling dye, and vast piles of building full of windows where there was a rattling and atrembling all day long, and where the piston of the steam-engine worked monotonously up anddown like the head of an elephant in a state of melancholy madness. It contained several largestreets all very like one another, and many small streets still more like one another, inhabited bypeople equally like one another, who all went in and out at the same hours, with the same soundupon the same pavements, to do the same work, and to whom every day was the same as yesterdayand tomorrow, and every year the counterpart of the last and the next.These attributes of Coketown were in the main inseparable from the work by which it wassustained; against them were to be set off comforts of life which found their way all over theworld, and elegancies of life which made, we will not ask how much of the fine lady, who couldscarcely bear to hear the place mentioned. The rest of its features were voluntary, and they werethese.You saw nothing in Coketown but what was severely workful. If the members of a religiouspersuasion built a chapel there—as the members of eighteen religious persuasions had done—theymade it a pious warehouse of red brick, with sometimes (but this is only in highly ornamentalexamples) a bell in a bird-cage on the top of it. The solitary exception was the New Church; astuccoed edifice with a square steeple over the door, terminating in four short pinnacles like floridwooden legs. All the public inscriptions in the town were painted alike, in severe characters ofblack and white. The jail might have been the infirmary, the infirmary might have been the jail, thetownhall might have been either, or both, or anything else, for anything that appeared to thecontrary in the graces of their construction. Fact, fact, fact, everywhere in the material aspect ofthe town; fact, fact, fact, everywhere in the immaterial. The McChoakumchild school was all fact,and the school of design was all fact, and the relations between master and man were all fact, andeverything was fact between the lying-in hospital and the cemetery, and what you couldn’t state infigures, or show to be purchaseable in the cheapest market and saleable in the dearest, was not, andnever should be, world without end, Amen.In the public domain.104G10 ELA S1 2 04 Form 1

English Language ArtsSession 13022787–10R0219L C2095375-10R0219L C 10Read the sentence from paragraph 3 in thebox below.Which of the following is suggested bythe imagery in paragraph 1?A. faithThe jail might have been theinfirmary, the infirmary mighthave been the jail, the townhallmight have been either, or both,or anything else, for anythingthat appeared to the contrary inthe graces of their construction.B. comfortC. efficiencyD. uniformity *2095376-10R0219L CRead the sentence from paragraph 1 in thebox below.12 A. Though their purposes vary, thebuildings look the same. *It was a town of machinery andtall chimneys, out of whichinterminable serpents of smoketrailed themselves forever andever, and never got uncoiled.11 What does this sentence mean?B. The infirmary is between the jailand the townhall.C. The citizens of Coketown oftenconfuse the buildings.What does the serpent metaphoremphasize?D. With each new construction, Coketownbecomes more appealing.A. the long-term dangers of snakesand machines3049642-10R0219L C13 B. the unending poisonous effects ofindustrialization *C. the crookedness of the chimneysNovels include many different elementsof writing. Which of the following bestdescribes the writing in this excerpt?A. plotD. the destruction of natureB. dialogueC. description *D. characterization105G10 ELA S1 2 04 Form 1

English Language ArtsSession 12095378-10R0219L CRead the sentence from paragraph 3in the box below.Fact, fact, fact, everywhere in thematerial aspect of the town; fact, fact,fact, everywhere in the immaterial.14 The author uses repetition andparallelism toA. emphasize the monotonyof Coketown. *B. indicate a change in tone.C. show respect for the town.D. suggest that the townspeopleadmire Coketown.106G10 ELA S1 2 04 Form 1

English Language ArtsSession 110R0234P CAmerican poet Sara Teasdale won a Pulitzer Prize in 1918. As you read the poem below think aboutwhat Teasdale has to say about life. Use information from the poem to answer the questions thatfollow.Barter51015Life has loveliness to sell,All beautiful and splendid things,Blue waves whitened on a cliff,Soaring fire that sways and sings,And children’s faces looking upHolding wonder like a cup.Life has loveliness to sell,Music like a curve of gold,Scent of pine trees in the rain,Eyes that love you, arms that hold,And for your spirit’s still delight,Holy thoughts that star the night.Spend all you have for loveliness,Buy it and never count the cost;For one white singing hour of peaceCount many a year of strife well lost,And for a breath of ecstasyGive all you have been, or could be.—Sara TeasdaleIn the public domain.107G10 ELA S1 2 04 Form 1

English Language ArtsSession 12095249-10R0234P C 152095254-10R0234P C17 What is emphasized in stanzas 1 and 2?What does line 10 suggest to the reader?A. examples of beauty in life *A. the surprises one can find in natureB. reasons for the reader to take actionB. the need for aggressive actionC. the importance of reevaluatingone’s lifeC. the warmth of humanity *D. the unpredictability of kindnessD. the poet’s affection for children2095252–10R0234P C18 2095253–10R0234P C 16Which of the following figures of speechis used in line 4?Which of the following lines fromthe poem states that beauty is worthany sacrifice?A. simileA. “Life has loveliness to sell”B. analogyB. “Holy thoughts that star the night”C. onomatopoeiaC. “Spend all you have for loveliness” *D. personification *D. “For one white singing hour of peace”108G10 ELA S1 2 04 Form 1

English Language ArtsSession 1Write your answer to open-response question 19 in the space provided in your Student AnswerBooklet.2095397-10R0234P C19 The word barter means to trade something in exchange for something else. Explain why “Barter”is an appropriate title for the poem. Use relevant and specific information from the poem to supportyour answer.109G10 ELA S1 2 04 Form 1

English Language ArtsLANGUAGE AND LITERATURE: SESSION 2DIRECTIONSThis session contains one reading selection with seven multiple-choice questions andone open-response question. Mark your answers to these questions in the spaces providedin your Student Answer Booklet.Rosa1003L CSometimes we are in awe of a person we perceive as exceptionally attractive, and we go out of ourway to meet that person. Such a thing happened to the narrator in this excerpt from Chapter 1 ofthe novel The House of the Spirits by Isabel Allende. Read the excerpt and answer the questionsthat follow.Rosa the Beautifulby Isabel AllendeStudents read a selection titled “Rosa the Beautiful” and then answered questions20 through 27 that follow on the next pages of this document.Due to copyright restrictions, the passage cannot be released to the publicin this document. For more information, see the copyright citation below.From THE HOUSE OF THE SPIRITS by Isabel Allende, translated by Magda Bogin, copyright 1985 byAlfred A. Knopf Inc. Used by permission of Alfred A. Knopf, a division of Random House, Inc.110G10 ELA S1 2 04 Form 1

English Language ArtsSession 23016765–Rosa1003L C 203016756–Rosa1003L CAccording to the excerpt, why does Rosahave no other suitors?Read the sentence from lines 40–42 in thebox below.A. Rosa’s parents want her to stayat home.I stood there mute, my hat inmy hand and my mouth gaping,until her parents, who werewell acquainted with suchsymptoms, came to my rescue.B. Rosa does not want to get married.C. Most men are too poor for her.D. Men are intimidated by hergreat beauty. *23 3047616-Rosa1003L C21 Which of the following best expresses thenarrator’s mood throughout the excerpt?A. disbelief at his good fortune *A. Rosa’s parents could see that thenarrator was ill.B. seriousness over the importanceof marriageB. Rosa’s parents knew about thenarrator’s background.C. gloominess over the struggle to winC. Rosa’s parents had seen many menovercome by her beauty. *D. satisfaction with a job well doneD. Rosa’s parents had seen other menmake a poor impression on the family.3016760–Rosa1003L C22 What does the narrator suggest when hesays that Rosa’s parents were “wellacquainted with such symptoms”?What is the “cloud of violet” in line 28?3016782–Rosa1003L C24 A. Rosa’s NanaB. Rosa’s dress *C. a storm cloudIn line 57, what does the narrator meanwhen he says, “Gold and silver mineswere the dream of all adventurers”?A. Hard work and determinationguaranteed success in the mines.D. a clump of flowersB. Finding gold or silver was moredifficult than other precious metals.C. Most people hoped to work in themines at some point in their lives.D. The mines represented anall-or-nothing risk. *111G10 ELA S1 2 04 Form 1

English Language ArtsSession 23016662–Rosa1003L C 253047618-Rosa1003L CAccording to the excerpt, how is thenarrator able to secure the loan forthe mine?Read the sentence from lines 61 and 62 in thebox below.I vowed to extract the lastgram of precious metal evenif it meant I had to crush thehills with my own hands andgrind the rocks with my feet.A. He has advanced college degrees.B. He agrees to let the bank be a partner.C. His mother’s family is well-known. *D. He uses his savings as a downpayment.26 The sentence contains an example ofwhich of the following?A. personificationB. understatementC. metaphorD. hyperbole *Write your answer to open-response question 27 in the space provided in your Student AnswerBooklet.3016783–Rosa1003L C27 The narrator has many different reactions when he is near Rosa. Identify two of these reactions andexplain what they reveal about the narrator. Use relevant and specific information from the excerptto support your answer.112G10 ELA S1 2 04 Form 1

English Language ArtsLANGUAGE AND LITERATURE: SESSION 3DIRECTIONSThis session contains two reading selections with twelve multiple-choice questions andone open-response question. Mark your answers to these questions in the spaces providedin your Student Answer Booklet.100005I CWhen Abraham Lincoln delivered the Gettysburg Address, he considered it a failure. Today it is consideredone of the outstanding speeches in history. In his article, Richard Katula writes about the greatness of thespeech. Read the article and the Gettysburg Address below. Use information from the article and theGettysburg Address to answer the questions that follow.The Speech They Only Wish TheyCould Makeby Richard A. Katulafrom The Boston GlobeNovember 21, 1999One hundred and thirty-six years ago last Friday, in the aftermath of the bloodiest battle of theCivil War, a huge crowd gathered around a 12- by 20-foot stage in Gettysburg, Pa., to dedicate thecountry’s first national cemetery. Edward Everett, the premier orator of the time, was the featuredspeaker. President Abraham Lincoln was invited as an afterthought to give “a few appropriateremarks.”2Everett delivered, mostly from memory, a Periclean eulogy lasting two hours. B.B. Frenchplayed a funeral dirge, and then Ward Hill Lamon, an aide, introduced the president.3Lincoln rose, took two sheets of paper from his breast pocket, looked at them, and then spoke270—some say 272—of the most important words ever uttered. He sat down to polite applausefrom the crowd, turned to Lamon and pronounced the speech “a flat failure.” He rarely mentionedit again.4Shortly thereafter, a letter arrived from the venerable Everett saying, “I should be glad if Icould flatter myself that I came as near to the central idea of the occasion in two hours as you didin two minutes.”5Everett, the Dorchester native who had been a minister, Harvard College professor, legislator,statesman, and a vice-presidential candidate in 1860, knew quality when he heard it. TheGettysburg Address became America’s most celebrated speech. Why? It’s a fitting question in thisseason of accelerating oratory from the men who would hope to be presidential candidates.6The sources of the Gettysburg Address’s greatness remain a centerpiece of academic discourse,and scholars who enter into the debate do so with both reverence and trepidation. The key is tomeasure it by applying three timeless principles of the ancient art of rhetoric: timeliness,timelessness, and elo

97 B. Language and Literature The spring 2004 Grade 10 MCAS English Language Arts Language and Literature Test was based on learning standards in the two content strands of the Massachusetts English Language Arts Curriculum Framework (2001) listed below. Page

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