.
It makes an appeal to authority .
It restates the thesis of the passage .
It expresses the causal relationship between morality and writing style .
It provides a specific example for the preceding generalization
It presents a misconception that the author will correct .
“unconnected, slipshod allusions’’ (line 4)
“throw words together’’ (lines 5)
“gabble on at a venture’’ (line 15)
“get upon stilts’’ (line 20)
“pitch upon the very word’’ (line 22)
Language and morality
Preaching and acting
Writing and speaking
Vulgar English and incorrect pronunciation
Ordinary life and the theater
Metaphorical language
Current slang
Unaffected expression
Regional dialect
Impolite speech
“solemnity’’ (line 13)
“pulpit’’ (line 13)
“stage-declamation’’ (line 13)
“liberty’’ (line 14)
“venture’’ (line 15)
To suggest in a casual way
To set a value on
To put aside as if by throwing
To utter glibly and insincerely
To succeed in finding
“theatrical cadence’’ (line 20)
“foreign circumlocutions’’ (line 29)
“fine tact’’ (line 32)
“professional allusions’’ (line 35)
“universal force’’ (line 36)
Mocking tone
Linguistic paradox
Popularity of the familiar style
The author’s defense of Johnson’s style
The author’s advice to the reader
I only
II only
I and III only
II and III only
I, II, and III
Harsh and strident
Informal and analytical
Contemplative and conciliatory
Superficial and capricious
Enthusiastic and optimistic
Is committed to developing his skills as a writer
Is actually more interested in being a musician than in being a writer
Is motivated very dif ferently from the jazz musicians that he describes
Has talent as both a musician and a writer
Aspires to greatness but knows that he will never achieve it
Agitated the speaker purposely and distracted him from his writing
Was not “poetic" (line 3) and had no basis for his obsession
Actually disturbed the speaker less than did the singer
Had little “sensitivity" (line 5) and was undeserving of sympathy
Was a major source of the noise from which the speaker wished to escape