Literature Passage (verbal reasoning)
Introduction
You have encountered the Journey Method for reading CLT passages already. Take a moment to quiz yourself: In what sense is reading a CLT passage like a journey? How does that journey unfold? What are the major “signposts” to notice? Think about these questions, then check the spoiler below.
The rhythm of the Journey Method is “slow-fast-slow.” You read the first paragraph very closely, looking for the passage’s main idea and any hint of the author’s attitude toward the subject. In the body paragraphs, you may skim certain parts, but make sure you still read each topic sentence carefully and note crucial words of contrast (“but”, “however”, etc.) and logical connectors (“therefore”, “so”, etc.). You zoom back in at the end, reading the last sentence carefully and asking yourself how it reviews or expands upon the main idea you have already identified. All in all, the Journey Method means reading actively, asking questions and thinking about concepts rather than just letting the words wash over you. The efficiencies you gain from skimming certain details allow you to spend the necessary time to deeply engage the passage’s most important elements.
The Journey Method in the Literature Passage
The CLT literature passage will strike most readers as different from the other three passages, for the simple reason that fiction differs sharply from nonfiction. A literature passage does not follow the same structure as a nonfiction passage; it doesn’t unfold logically after presenting a thesis statement. A literature passage tells a story, one event organically connected to the next, and uses figurative language and figures of speech. So how do we apply the Journey Method to a literature passage?
The first thing to remember is that although the literature passage is different, it is not without structure. The excerpt the CLT chooses will still have what feels like an introduction, where you meet important characters and get some sense of the action about to ensue. If plot actions are then described, they will appear in a discernible sequence; if, instead, you find more of a dialogue or conversation, you will be able to discover the relationship of the speakers and the direction of the conversation.
To aid you in this process, you should home in on what we call the “three A’s of literature”: actors, actions, and attitudes. The actors are the characters; take time to identify them and make sure you understand which one is being described at any point in the passage. This can be more challenging than you might think; depending on the age of the passage, it may take some work to decode the language being used. The actions are the plot; what happens, in what sequence? How do the characters’ actions advance the plot?
But the most important of the three “A’s” is attitude, because the CLT will consistently ask questions to determine whether you understand the attitude, or tone, of the passage. This might be the attitude of the passage’s author toward its characters or the attitudes of the characters toward each other. Another way to describe attitude is the feeling you get from the passage. Is it dark and full of foreboding? Light-hearted and joyful? Sober and attuned to honor? Full of contempt and disapproval? All of these attitudes and more may be present; to succeed with CLT verbal reasoning, you must pay attention to the “feeling” of the passage.
Let’s observe how this works by considering the oldest existing piece of literature in the English language: Beowulf. After each stanza (there aren’t exactly paragraphs since this is poetry, but there are discernible breaks in the passage), we’ll comment on how you should be using the Journey Method at that stage.
Practice Passage
This passage is taken from the Anglo-Saxon epic poem Beowulf, translated by J. Lesslie Hall and found at Project Gutenberg.
[1] Hrothgar answered, helm of the Scyldings:
“I remember this man as the merest of striplings.
His father long dead now was Ecgtheow titled,
Him Hrethel the Geatman granted at home his
One only daughter; his battle-brave son
Is come but now, sought a trustworthy friend.
Seafaring sailors asserted it then,
The Journey Method tells us we should begin by reading closely, and the literature passage is not an exception to this rule. Who is the actor here? Who is Hrothgar? The passage requires some interpretation; even if we don’t know who the “Scyldings” are, we can draw an inference from the word “helm.” The “helm” is the steering system of the ship, where the captain stands. If Hrothgar is referred to as the “helm,” this must a metaphor telling us that he is a leader. He is “leader of the Scyldings.”
What other actors are present? Hrothgar is describing someone, called “this man” and “the merest of striplings” (this means that Hrothgar remembers this man from when the latter was very young). After referring to this man’s father, Hrothgar calls this man a “battle-brave son” and “a trustworthy friend.” Although this man has not been named yet, we can infer something from the title of the work we’re reading: there’s a good chance that “this man” is Beowulf himself.
As far as action is concerned, “this man” has been sought and has come to visit. The attitude of Hrothgar is clearly one of welcome and gratitude.
[2] Beowulf is reported to have the strength of thirty men.
Who valuable gift-gems of the Geatmen carried
As peace-offering thither, that he thirty men’s grapple
Has in his hand, the hero-in-battle.
The actor here is confirmed: it’s Beowulf! Now that we know the main actor of Hrothgar’s monologue and the attitude of this narration, we can begin to move more quickly, at least until someone else begins speaking. As the journey picks up, we note broad points and look for important figures of speech. This part of the passage is more straightforward: Beowulf is a strong hero!
[3] God hath sent him to our rescue.
The holy Creator usward sent him,
To West-Dane warriors, I ween, for to render
’Gainst Grendel’s grimness gracious assistance:
I shall give to the good one gift-gems for courage.
Hasten to bid them hither to speed them,
To see assembled this circle of kinsmen;
Tell them expressly they’re welcome in sooth to
The men of the Danes.” To the door of the building
As Hrothgar continues to speak, we can read somewhat quickly but need to still consider the three “A’s”. A new actor is introduced: Grendel, and the attitude toward him is clear: he has “grimness”, and “assistance” is needed against him. Grendel, whoever he is, must be the enemy.
Hrothgar then finishes his speech by making a command to welcome Beowulf (there is the plural “them”, so Beowulf must not be alone). We also learn here more about the actors already present: these are Danes, and Beowulf is being welcomed to join their party.
[4] Wulfgar invites the strangers in.
Wulfgar went then, this word-message shouted:
“My victorious liegelord bade me to tell you,
The East-Danes’ atheling, that your origin knows he,
And o’er wave-billows wafted ye welcome are hither,
Valiant of spirit. Ye straightway may enter
Clad in corslets, cased in your helmets,
To see King Hrothgar. Here let your battle-boards,
Wood-spears and war-shafts, await your conferring.”
The mighty one rose then, with many a liegeman,
An excellent thane-group; some there did await them,
And as bid of the brave one the battle-gear guarded.
Together they hied them, while the hero did guide them,
’Neath Heorot’s roof; the high-minded went then
Sturdy ’neath helmet till he stood in the building.
Beowulf spake (his burnie did glisten,
His armor seamed over by the art of the craftsman):
Here is another new actor, Wulfgar, who has been sent to welcome Beowulf. He refers to Beowulf as the “East Danes’ atheling”; even though we might not know what an “atheling” is, we can guess that it’s a leader (and indeed it is: an Anglo-Saxon lord). By way of contrast, the previous portion referred to Hrothgar and his tribe as “West Danes,” so we now see we have two groups of Danes, from different parts of the realm.
The attitude is welcoming, laudatory, and heroic: Beowulf is described as “valiant” and permitted to see Hrothgar while in full armor. Wulfgar finishes speaking and Beowulf’s men advance as bidden, with the praises continuing: they are “mighty”, “excellent”, and “brave”. Once in the building with Hrothgar, Beowulf speaks.
[5] Beowulf salutes Hrothgar, and then proceeds to boast of his youthful achievements.
“Hail thou, Hrothgar! I am Higelac’s kinsman
And vassal forsooth; many a wonder
I dared as a stripling. The doings of Grendel,
In far-off fatherland I fully did know of:
Sea-farers tell us, this hall-building standeth,
Excellent edifice, empty and useless
To all the earlmen after evenlight’s glimmer
’Neath heaven’s bright hues hath hidden its glory.
This my earls then urged me, the most excellent of them,
Carles very clever, to come and assist thee,
Folk-leader Hrothgar; fully they knew of
Scanning ahead, we can see that the closing quotation marks don’t come until the end of this passage, so we can settle in, knowing that Beowulf’s speech to Hrothgar is all that remains. Having encountered all the key actors, we now see them repeated: Beowulf speaks, Hrothgar is addressed, and Grendel’s doings are brought up once again. Beowulf has heard what Grendel has been doing and has come to help.
Reading carefully, we can notice that the attitude changes somewhat with the words “empty and useless.” These words describe the “edifice”, or building, in which the heroes now stand; this should prompt us to seek out what it means for the building to be “empty and useless.” Since this building is praised and appears to be something of a warrior hall, perhaps the building is empty of warriors. (Readers of Beowulf will know that Grendel has attacked the hall and carried away many warriors, but the CLT won’t ask you anything that can’t be inferred directly from this passage.)
Even without full knowledge of what Grendel has done, we can understand that disaster has befallen the West Danes; otherwise, they wouldn’t need a hero. Beowulf, at the urging of his earls, has come to their aid.
One further note regarding attitude in this section. Note that Beowulf refers to Hrothgar as “folk leader” and to himself as a “vassal”. If you are aware that a vassal in the Middle Ages was someone who served a lord, you can infer that Beowulf, despite the accolades given to him here, is not the ultimate authority in this place. That authority belongs to Hrothgar, and Beowulf is placing himself in Hrothgar’s temporary service.
[6] His fight with the nickers [see footnote].
The strength of my body. Themselves they beheld me
When I came from the contest, when covered with gore
Foes I escaped from, where five I had bound,
The giant-race wasted, in the waters destroying
The nickers by night, bore numberless sorrows,
The Weders avenged (woes had they suffered)
Enemies ravaged; alone now with Grendel
He intends to fight Grendel unaided.
I shall manage the matter, with the monster of evil,
The giant, decide it.”
Beowulf now describes his fight with a previous foe. The identity of the actor here might seem confusing at first, since Beowulf uses the third person “his”, but reading back, we see that Beowulf’s earls are speaking and referring to their lord. Beowulf then switches to first-person, removing all doubt.
We get more action here: Beowulf has been in a “contest”, used his “strength”, and escaped from his “foes” after having “bound” them. This is a victorious warrior who has “avenged” a people known as the “Weders”. Confident in previous victories, he now plans to engage Grendel alone. Grendel is now more clearly described as “the monster of evil,” and the stage for the battle is set!
Sample Questions
The questions below seem straightforward to you, and this is no accident; our commentary above has unpacked the passage in such a way that the questions should not be too difficult. The more you can unpack the passage in the same way on test day, the better you should do on the questions!
The purpose of this passage is to
A. introduce a hero in a time of dire circumstance.
B. condemn a king for allowing his kingdom to be raided.
C. explain the antagonistic relationship between a king and the main character.
D. recount the many victories of a conquering warrior.
The answer is A. The atmosphere of the passage makes clear that there is a monster that needs conquering and a hero who has arrived to conquer the monster. Answer choice B doesn’t fit because there is no attitude of condemnation toward Hrothgar, even if his kingdom has apparently experienced disaster. Choice C misrepresents the relationship between Beowulf and Hrothgar; they are not hostile to each other, but rather allies. Choice D might seem tempting because the passage refers to a previous victory, but it doesn’t share “many” of Beowulf’s victories, nor is its purpose simply to tell stories of conquest.
The setting in which this passage takes place is presented as
A. joyous, because ultimate victory has been gained.
B. comfortable, because the kingdom is free from enemies.
C. chaotic, because a battle is taking place in the hall.
D. tragic, because it is a glorious hall empty of warriors.
The answer is D. The arrival of a conquering hero, as well as certain hints about a previous tragedy, should allow us to rule out choices A and B as far too positive. As for choice C, while there may have been chaos that still reigns among the West Danes, the passage itself doesn’t portray chaos. What it portrays is a place of honor and glory that seems strangely “empty and useless.”
According to the passage, Hrothgar has known Beowulf
A. not at all; this is the first time they are meeting.
B. briefly, since they fought against a monster together.
C. since Beowulf was a very young man and Hrothgar knew his father.
D. since Beowulf’s birth, as Hrothgar is his uncle.
The answer is C. If we forget about the first section of the passage, we might be tempted by answer A. But early on, Hrothgar says “I remember this man” and then refers to his father, whom he apparently also knew. Choice B is a distortion of the truth: only Beowulf, not Hrothgar, is known to have fought a monster. And it’s not Choice D because nowhere does it say that Hrothgar is Beowulf’s uncle. Choice C indicates the part where Hrothgar refers to Beowulf as a “mere stripling", which means a young boy. But if you didn’t know that, you can certainly answer this question by process of elimination.
In part 3, line 4, the phrase “‘Gainst Grendel’s grimness” demonstrates which of the following figures of speech?
A. alliteration
B. assonance
C. metaphor
D. personification
The answer is A. Repeating consonant sounds is alliteration; repeating vowel sounds is assonance. Metaphor involves using non-literal word pictures to convey meaning; personification is the attribution of human qualities to non-human beings or inanimate objects.
Carles : Wulfgar
A. Grendel : Beowulf
B. Hrothgar : Beowulf
C. Dane : non-Dane
D. East Dane : West Dane
The answer is D. We discussed Wulfgar, a servant of Hrothgar, but not Carles, who shows up when Beowulf describes him as “the most excellent of [my earls].” This shows us the parallel here: while Wulfgar serves Hrothgar, Carles serves Beowulf. But that doesn’t get us all the way to the answer; we also need to remember that Beowulf’s group are East Danes and Hrothgar’s are West Danes. That means the Choice D corresponds appropriately. None of the other relationships correspond to Carles with their first term and Wulfgar with their second term.
This is a challenging analogy because Carles is not a major figure in the passage. But since CLT analogy questions will often require you to comb the passage for a detail before you can understand the relationship between the words or phrases, it’s good to practice this process with an obscure reference in this case.
Notes
- This note is purely for your curiosity: the “nickers”, or “nicoras”, were apparently aquatic monsters, but scholars don’t know much more about them outside of their mention in Beowulf.