Excerpt from The Musician's Daughter
by Susanne Dunlap
I thought a lot, at the beginning, about my father playing the violin. I still remember the first time I ever saw a concert. I was very small, and we had just come to Esterhaza, a magnificent palace in Sopron, Hungary, when the prince's household moved there from his winter palace, at Eisenstadt, near Vienna. I think it may have been the first concert Papa took part in there. I had a new dress for the occasion, and Mama looked beautiful. I don't think Toby was born yet, or if he was, he was a small baby and stayed in our rooms with a nurse.
The palace at Esterháza was so new that it still smelled of raw wood and paint. The rooms were very grand. I had never seen so many candles in one place before. And they were expensive wax candles, not foul-smelling tallow. We stood to the side to watch the fine ladies enter. I thought they looked like dolls; their faces were so perfect. Later my mother told me that they painted them with white lead to make their skin artificially smooth and pale, and then rubbed rouge into their cheeks and lips, and drew lines of charcoal around their eyes so they would appear larger. And the headdresses-in those days the fashion was to have hair that towered up, stuck into place with diamond combs, with ribbons and pearls festooned around. And no matter what color it was naturally, ladies powdered their hair to snowy whiteness, so that the light of the candies was magnified by the glow from the people themselves.
And the men, too, were powdered and patched. Their gold buttons and lace were almost as gaudy as the ladies' finery. But the enormous panniers that held the ladies' skirts out to the side so far that they had to move sideways through doorways fascinated me most of all. I could barely be persuaded to turn my eyes to the orchestra when the concert started.
We were not seated with the guests. In fact, I think we were tucked away in an anteroom. The door was open so we could see through, and everyone pushed me forward to let me watch my father, who looked up now and again from the music and gave me a quick smile. The candlelight danced over the rich wood of his violin, the beautiful Italian instrument, an old Amati, that my grandfather had given him. Kapellmeister Haydn-who was also my godfather-sat at the harpsichord, smiling broadly all the time, waving one hand in the air to direct, then putting it back on the keys and instead using his head, bobbing and nodding to bring the winds in, or to indicate the entrance for the cellos. He looked like the music, 1 remember thinking. I wish I could bring that particular sound to my mind, but it has since blended with countless, other concert. I’ll always remember what it looked like, though. The light shimmering glow of everything and everyone.
Which aspect of the evening does the narrator claim she finds most captivating?
- A. the style of the ladies' skirts
- B. her godfather's nodding head
- C. her father's antique violin
- D. the elegance of the headdresses
Correct Answer & Rationale
Correct Answer: A
The narrator is particularly drawn to the style of the ladies' skirts, highlighting how their fashion captures her attention and evokes a sense of admiration. This focus on skirts reflects a deeper appreciation for beauty and artistry in the evening's atmosphere. Option B, her godfather's nodding head, is a more passive observation and lacks the emotional engagement present in her fascination with the skirts. Option C, her father's antique violin, while significant, does not hold the same captivating allure as the skirts. Lastly, option D, the elegance of the headdresses, is appealing but secondary to the skirts, which are emphasized as the primary source of her captivation.
The narrator is particularly drawn to the style of the ladies' skirts, highlighting how their fashion captures her attention and evokes a sense of admiration. This focus on skirts reflects a deeper appreciation for beauty and artistry in the evening's atmosphere. Option B, her godfather's nodding head, is a more passive observation and lacks the emotional engagement present in her fascination with the skirts. Option C, her father's antique violin, while significant, does not hold the same captivating allure as the skirts. Lastly, option D, the elegance of the headdresses, is appealing but secondary to the skirts, which are emphasized as the primary source of her captivation.
Other Related Questions
How does Anthony respond to conflicting viewpoints about Universal Suffrage?
- A. by revealing the many challenges that were overcome to build the nation
- B. by referring to the principles on which the country was founded
- C. by pointing out the revolutionary changes that equality would inspire
- D. by explaining the benefits related to property holders and taxation
Correct Answer & Rationale
Correct Answer: B
Anthony addresses conflicting viewpoints about Universal Suffrage by referring to the foundational principles of equality and democracy upon which the country was established. This approach emphasizes the moral and ethical basis for suffrage, reinforcing the idea that all citizens deserve a voice in governance. Option A is incorrect as it focuses on historical challenges rather than the core principles of democracy. Option C, while relevant, highlights the potential outcomes of equality rather than the philosophical grounding needed for suffrage. Option D incorrectly centers on economic benefits for a specific group, which diverges from the broader argument for universal rights.
Anthony addresses conflicting viewpoints about Universal Suffrage by referring to the foundational principles of equality and democracy upon which the country was established. This approach emphasizes the moral and ethical basis for suffrage, reinforcing the idea that all citizens deserve a voice in governance. Option A is incorrect as it focuses on historical challenges rather than the core principles of democracy. Option C, while relevant, highlights the potential outcomes of equality rather than the philosophical grounding needed for suffrage. Option D incorrectly centers on economic benefits for a specific group, which diverges from the broader argument for universal rights.
Burl refers to the thief as an 'artiste' in the story because
- A. the thief arranges the jars in patterns.
- B. the thief scrawls a drawing on the back of an IOU.
- C. the thief leaves beautiful objects rather than money.
- D. the thief avoids getting caught by being creative.
Correct Answer & Rationale
Correct Answer: A
Burl refers to the thief as an 'artiste' primarily because of the thief's ability to arrange the jars in visually appealing patterns (Option A). This artistic presentation elevates the act of theft to an expression of creativity. Option B, while mentioning a drawing, does not highlight the thief's overall artistic flair as effectively as the arrangement of jars. Option C suggests that leaving beautiful objects is significant, but it lacks the direct connection to artistry implied by the careful arrangement. Option D focuses on the thief's creativity in avoiding capture, which, although clever, does not specifically relate to artistry in the same way as the aesthetic arrangement of jars.
Burl refers to the thief as an 'artiste' primarily because of the thief's ability to arrange the jars in visually appealing patterns (Option A). This artistic presentation elevates the act of theft to an expression of creativity. Option B, while mentioning a drawing, does not highlight the thief's overall artistic flair as effectively as the arrangement of jars. Option C suggests that leaving beautiful objects is significant, but it lacks the direct connection to artistry implied by the careful arrangement. Option D focuses on the thief's creativity in avoiding capture, which, although clever, does not specifically relate to artistry in the same way as the aesthetic arrangement of jars.
The rooms were very grand. How would the meaning of this sentence be changed if the word 'grand' were replaced with 'large'?
- A. The sentence would describe the size of the room but not their magnificence.
- B. The sentence would provide information about the historical period in which these rooms were used.
- C. The sentence would offer insight into the particular decorations of the rooms but not the dimensions.
- D. The sentence would refer to the number of people the rooms would accommodate.
Correct Answer & Rationale
Correct Answer: A
Replacing "grand" with "large" alters the focus of the description. "Grand" conveys a sense of magnificence, elegance, and impressive beauty, while "large" simply indicates size without any connotation of splendor. Thus, option A accurately reflects that the sentence shifts from describing both size and magnificence to solely addressing size. Option B incorrectly suggests a historical context, which isn't implied by either term. Option C misinterprets the focus on decorations rather than size. Option D mistakenly assumes a focus on capacity, which is not relevant to the original meaning about the rooms.
Replacing "grand" with "large" alters the focus of the description. "Grand" conveys a sense of magnificence, elegance, and impressive beauty, while "large" simply indicates size without any connotation of splendor. Thus, option A accurately reflects that the sentence shifts from describing both size and magnificence to solely addressing size. Option B incorrectly suggests a historical context, which isn't implied by either term. Option C misinterprets the focus on decorations rather than size. Option D mistakenly assumes a focus on capacity, which is not relevant to the original meaning about the rooms.
Why does the author mention Lissa in paragraph 5?
- A. to show that Burl is frustrated over losing money
- B. to foreshadow Burl's anxieties about his business
- C. to portray Burl's real feelings toward the thief
- D. to emphasize how Burl finds himself deep in thought
Correct Answer & Rationale
Correct Answer: D
The mention of Lissa in paragraph 5 serves to emphasize how Burl finds himself deep in thought. This moment reflects his internal struggle and contemplation, highlighting the emotional weight of the situation. Option A incorrectly suggests that the focus is on Burl's frustration over financial loss, which is not the primary concern in this context. Option B misinterprets the mention of Lissa as a foreshadowing of anxieties, whereas the text focuses more on Burl's immediate reflections. Option C inaccurately implies that Lissa's mention reveals Burl's feelings toward the thief, diverting attention from his introspective state.
The mention of Lissa in paragraph 5 serves to emphasize how Burl finds himself deep in thought. This moment reflects his internal struggle and contemplation, highlighting the emotional weight of the situation. Option A incorrectly suggests that the focus is on Burl's frustration over financial loss, which is not the primary concern in this context. Option B misinterprets the mention of Lissa as a foreshadowing of anxieties, whereas the text focuses more on Burl's immediate reflections. Option C inaccurately implies that Lissa's mention reveals Burl's feelings toward the thief, diverting attention from his introspective state.