This is an excerpt from Wieland: or, the Transformation, an American Tale by Charles Brockden Brown (1798) 

My state is not destitute of tranquillity. The sentiment that dictates my feelings is not hope. Futurity has no power over my thoughts. To all that is to come I am perfectly indifferent. With regard to myself, I have nothing more to fear. Fate has done its worst. Henceforth, I am callous to misfortune. I address no supplication to the Deity. The power that governs the course of human affairs has chosen his path. The decree that ascertained the condition of my life, admits of no recall. No doubt it squares with the maxims of eternal equity. That is neither to be questioned nor denied by me. It suffices that the past is exempt from mutation. The storm that tore up our happiness, and changed into dreariness and desert the blooming scene of our existence, is lulled into grim repose; but not until the victim was transfixed and mangled; till every obstacle was dissipated by its rage; till every remnant of good was wrested from our grasp and exterminated.

How will your wonder, and that of your companions, be excited by my story! Every sentiment will yield to your amazement. If my testimony were without corroborations, you would reject it as incredible. The experience of no human being can furnish a parallel: That I, beyond the rest of mankind, should be reserved for a destiny without alleviation, and without example! Listen to my narrative, and then say what it is that has made me deserve to be placed on this dreadful eminence, if, indeed, every faculty be not suspended in wonder that I am still alive, and am able to relate it. My father's ancestry was noble on the paternal side; but his mother was the daughter of a merchant. My grandfather was a younger brother, and a native of Saxony. He was placed, when he had reached the suitable age, at a German college. During the vacations, he employed himself in traversing the neighbouring territory. On one occasion it was his fortune to visit Hamburg. He formed an acquaintance with Leonard Weise, a merchant of that city, and was a frequent guest at his house. The merchant had an only daughter, for whom his guest speedily contracted an affection; and, in spite of parental menaces and prohibitions, he, in due season, became her husband.

The following passage can be best described with which of the following terms?

“The storm that tore up our happiness, and changed into dreariness and desert the blooming scene of our existence, is lulled into grim repose; but not until the victim was transfixed and mangled; till every obstacle was dissipated by its rage; till every remnant of good was wrested from our grasp and exterminated.”

This is an excerpt from Wieland: or, the Transformation, an American Tale by Charles Brockden Brown (1798) 

My state is not destitute of tranquillity. The sentiment that dictates my feelings is not hope. Futurity has no power over my thoughts. To all that is to come I am perfectly indifferent. With regard to myself, I have nothing more to fear. Fate has done its worst. Henceforth, I am callous to misfortune. I address no supplication to the Deity. The power that governs the course of human affairs has chosen his path. The decree that ascertained the condition of my life, admits of no recall. No doubt it squares with the maxims of eternal equity. That is neither to be questioned nor denied by me. It suffices that the past is exempt from mutation. The storm that tore up our happiness, and changed into dreariness and desert the blooming scene of our existence, is lulled into grim repose; but not until the victim was transfixed and mangled; till every obstacle was dissipated by its rage; till every remnant of good was wrested from our grasp and exterminated.

How will your wonder, and that of your companions, be excited by my story! Every sentiment will yield to your amazement. If my testimony were without corroborations, you would reject it as incredible. The experience of no human being can furnish a parallel: That I, beyond the rest of mankind, should be reserved for a destiny without alleviation, and without example! Listen to my narrative, and then say what it is that has made me deserve to be placed on this dreadful eminence, if, indeed, every faculty be not suspended in wonder that I am still alive, and am able to relate it. My father's ancestry was noble on the paternal side; but his mother was the daughter of a merchant. My grandfather was a younger brother, and a native of Saxony. He was placed, when he had reached the suitable age, at a German college. During the vacations, he employed himself in traversing the neighbouring territory. On one occasion it was his fortune to visit Hamburg. He formed an acquaintance with Leonard Weise, a merchant of that city, and was a frequent guest at his house. The merchant had an only daughter, for whom his guest speedily contracted an affection; and, in spite of parental menaces and prohibitions, he, in due season, became her husband.

“Transfixed” in the passage most nearly means which of the following? 

Excerpted from Robinson Crusoe by Daniel Defoe (1719)

I was sincerely affected with this discourse, and, indeed, who could be otherwise? I resolved not to think of going abroad any more, but to settle at home according to my father's desire. But alas! a few days wore it all off; and, in short, to prevent any of my father's further importunities, in a few weeks after I resolved to run quite away from him. However, I did not act quite so hastily as the first heat of my resolution prompted; but I took my mother at a time when I thought her a little more pleasant than ordinary, and told her that my thoughts were so entirely bent upon seeing the world that I should never settle to anything with resolution enough to go through with it, and my father had better give me his consent than force me to go without it; that I was now eighteen years old, which was too late to go apprentice to a trade or clerk to an attorney; that I was sure if I did I should never serve out my time, but I should certainly run away from my master before my time was out, and go to sea; and if she would speak to my father to let me go one voyage abroad, if I came home again, and did not like it, I would go no more; and I would promise, by a double diligence, to recover the time that I had lost. This put my mother into a great passion; she told me she knew it would be to no purpose to speak to my father upon any such subject; that he knew too well what was my interest to give his consent to anything so much for my hurt; and that she wondered how I could think of any such thing after the discourse I had had with my father, and such kind and tender expressions as she knew my father had used to me; and that, in short, if I would ruin myself, there was no help for me; but I might depend I should never have their consent to it; that for her part she would not have so much hand in my destruction; and I should never have it to say that my mother was willing when my father was not.

The narrator might best be described as which of the following?

Excerpted from Robinson Crusoe by Daniel Defoe (1719)

I was sincerely affected with this discourse, and, indeed, who could be otherwise? I resolved not to think of going abroad any more, but to settle at home according to my father's desire. But alas! a few days wore it all off; and, in short, to prevent any of my father's further importunities, in a few weeks after I resolved to run quite away from him. However, I did not act quite so hastily as the first heat of my resolution prompted; but I took my mother at a time when I thought her a little more pleasant than ordinary, and told her that my thoughts were so entirely bent upon seeing the world that I should never settle to anything with resolution enough to go through with it, and my father had better give me his consent than force me to go without it; that I was now eighteen years old, which was too late to go apprentice to a trade or clerk to an attorney; that I was sure if I did I should never serve out my time, but I should certainly run away from my master before my time was out, and go to sea; and if she would speak to my father to let me go one voyage abroad, if I came home again, and did not like it, I would go no more; and I would promise, by a double diligence, to recover the time that I had lost. This put my mother into a great passion; she told me she knew it would be to no purpose to speak to my father upon any such subject; that he knew too well what was my interest to give his consent to anything so much for my hurt; and that she wondered how I could think of any such thing after the discourse I had had with my father, and such kind and tender expressions as she knew my father had used to me; and that, in short, if I would ruin myself, there was no help for me; but I might depend I should never have their consent to it; that for her part she would not have so much hand in my destruction; and I should never have it to say that my mother was willing when my father was not.

The narrator’s father seems like which of the following in context?

Excerpted from Robinson Crusoe by Daniel Defoe (1719)

I was sincerely affected with this discourse, and, indeed, who could be otherwise? I resolved not to think of going abroad any more, but to settle at home according to my father's desire. But alas! a few days wore it all off; and, in short, to prevent any of my father's further importunities, in a few weeks after I resolved to run quite away from him. However, I did not act quite so hastily as the first heat of my resolution prompted; but I took my mother at a time when I thought her a little more pleasant than ordinary, and told her that my thoughts were so entirely bent upon seeing the world that I should never settle to anything with resolution enough to go through with it, and my father had better give me his consent than force me to go without it; that I was now eighteen years old, which was too late to go apprentice to a trade or clerk to an attorney; that I was sure if I did I should never serve out my time, but I should certainly run away from my master before my time was out, and go to sea; and if she would speak to my father to let me go one voyage abroad, if I came home again, and did not like it, I would go no more; and I would promise, by a double diligence, to recover the time that I had lost. This put my mother into a great passion; she told me she knew it would be to no purpose to speak to my father upon any such subject; that he knew too well what was my interest to give his consent to anything so much for my hurt; and that she wondered how I could think of any such thing after the discourse I had had with my father, and such kind and tender expressions as she knew my father had used to me; and that, in short, if I would ruin myself, there was no help for me; but I might depend I should never have their consent to it; that for her part she would not have so much hand in my destruction; and I should never have it to say that my mother was willing when my father was not.

The narrator is a reflection of which of the following?

This is an excerpt from The Mysteries of Udolpho by Ann Radcliffe (1794)

It was one of Emily's earliest pleasures to ramble among the scenes of nature; nor was it in the soft and glowing landscape that she most delighted; she loved more the wild wood-walks that skirted the mountain, and still more the mountain's stupendous recesses, where the silence and grandeur of solitude impressed a sacred awe upon her heart, and lifted her thoughts to the GOD OF HEAVEN AND EARTH. In scenes like these she would often linger along, wrapt in a melancholy charm, till the last gleam of day faded from the west; till the lonely sound of a sheep-bell, or the distant bark of a watch-dog, were all that broke on the stillness of the evening. Then, the gloom of the woods; the trembling of their leaves, at intervals, in the breeze; the bat, flitting on the twilight; the cottage-lights, now seen, and now lost—were circumstances that awakened her mind into effort, and led to enthusiasm and poetry.

In this passage, Emily takes delight in which of the following?

This is an excerpt from The Mysteries of Udolpho by Ann Radcliffe (1794)

It was one of Emily's earliest pleasures to ramble among the scenes of nature; nor was it in the soft and glowing landscape that she most delighted; she loved more the wild wood-walks that skirted the mountain, and still more the mountain's stupendous recesses, where the silence and grandeur of solitude impressed a sacred awe upon her heart, and lifted her thoughts to the GOD OF HEAVEN AND EARTH. In scenes like these she would often linger along, wrapt in a melancholy charm, till the last gleam of day faded from the west; till the lonely sound of a sheep-bell, or the distant bark of a watch-dog, were all that broke on the stillness of the evening. Then, the gloom of the woods; the trembling of their leaves, at intervals, in the breeze; the bat, flitting on the twilight; the cottage-lights, now seen, and now lost—were circumstances that awakened her mind into effort, and led to enthusiasm and poetry.

Which literary technique does this phrase utilize? “Then, the gloom of the woods; the trembling of their leaves, at intervals, in the breeze; the bat, flitting on the twilight; the cottage-lights, now seen, and now lost—were circumstances that awakened her mind into effort, and led to enthusiasm and poetry.”

This is an excerpt from The Mysteries of Udolpho by Ann Radcliffe (1794)

It was one of Emily's earliest pleasures to ramble among the scenes of nature; nor was it in the soft and glowing landscape that she most delighted; she loved more the wild wood-walks that skirted the mountain, and still more the mountain's stupendous recesses, where the silence and grandeur of solitude impressed a sacred awe upon her heart, and lifted her thoughts to the GOD OF HEAVEN AND EARTH. In scenes like these she would often linger along, wrapt in a melancholy charm, till the last gleam of day faded from the west; till the lonely sound of a sheep-bell, or the distant bark of a watch-dog, were all that broke on the stillness of the evening. Then, the gloom of the woods; the trembling of their leaves, at intervals, in the breeze; the bat, flitting on the twilight; the cottage-lights, now seen, and now lost—were circumstances that awakened her mind into effort, and led to enthusiasm and poetry.

The style might be described as which of the following?

Adapted from The Adventures of Huckleberry Finn by Mark Twain (1885)

YOU don't know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain't no matter. That book was made by Mr. Mark Twain, and he told the truth, mainly. There was things which he stretched, but mainly he told the truth. That is nothing. I never seen anybody but lied one time or another, without it was Aunt Polly, or the widow, or maybe Mary. Aunt Polly—Tom's Aunt Polly, she is—and Mary, and the Widow Douglas is all told about in that book, which is mostly a true book, with some stretchers, as I said before.

Now the way that the book winds up is this: Tom and me found the money that the robbers hid in the cave, and it made us rich. We got six thousand dollars apiece—all gold. It was an awful sight of money when it was piled up. Well, Judge Thatcher he took it and put it out at interest, and it fetched us a dollar a day apiece all the year round—more than a body could tell what to do with. The Widow Douglas she took me for her son, and allowed she would sivilize me; but it was rough living in the house all the time, considering how dismal regular and decent the widow was in all her ways; and so when I couldn't stand it no longer I lit out. I got into my old rags and my sugar-hogshead again, and was free and satisfied. But Tom Sawyer he hunted me up and said he was going to start a band of robbers, and I might join if I would go back to the widow and be respectable.  So I went back.

The widow she cried over me, and called me a poor lost lamb, and she called me a lot of other names, too, but she never meant no harm by it. She put me in them new clothes again, and I couldn't do nothing but sweat and sweat, and feel all cramped up. Well, then, the old thing commenced again. The widow rung a bell for supper, and you had to come to time. When you got to the table you couldn't go right to eating, but you had to wait for the widow to tuck down her head and grumble a little over the victuals, though there warn't really anything the matter with them—that is, nothing only everything was cooked by itself. In a barrel of odds and ends it is different; things get mixed up, and the juice kind of swaps around, and the things go better.

After supper she got out her book and learned me about Moses and the Bulrushers, and I was in a sweat to find out all about him; but by and by she let it out that Moses had been dead a considerable long time; so then I didn't care no more about him, because I don't take no stock in dead people.

This passage is narrated in which voice?

Adapted from The Adventures of Huckleberry Finn by Mark Twain (1885)

YOU don't know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain't no matter. That book was made by Mr. Mark Twain, and he told the truth, mainly. There was things which he stretched, but mainly he told the truth. That is nothing. I never seen anybody but lied one time or another, without it was Aunt Polly, or the widow, or maybe Mary. Aunt Polly—Tom's Aunt Polly, she is—and Mary, and the Widow Douglas is all told about in that book, which is mostly a true book, with some stretchers, as I said before.

Now the way that the book winds up is this: Tom and me found the money that the robbers hid in the cave, and it made us rich. We got six thousand dollars apiece—all gold. It was an awful sight of money when it was piled up. Well, Judge Thatcher he took it and put it out at interest, and it fetched us a dollar a day apiece all the year round—more than a body could tell what to do with. The Widow Douglas she took me for her son, and allowed she would sivilize me; but it was rough living in the house all the time, considering how dismal regular and decent the widow was in all her ways; and so when I couldn't stand it no longer I lit out. I got into my old rags and my sugar-hogshead again, and was free and satisfied. But Tom Sawyer he hunted me up and said he was going to start a band of robbers, and I might join if I would go back to the widow and be respectable.  So I went back.

The widow she cried over me, and called me a poor lost lamb, and she called me a lot of other names, too, but she never meant no harm by it. She put me in them new clothes again, and I couldn't do nothing but sweat and sweat, and feel all cramped up. Well, then, the old thing commenced again. The widow rung a bell for supper, and you had to come to time. When you got to the table you couldn't go right to eating, but you had to wait for the widow to tuck down her head and grumble a little over the victuals, though there warn't really anything the matter with them—that is, nothing only everything was cooked by itself. In a barrel of odds and ends it is different; things get mixed up, and the juice kind of swaps around, and the things go better.

After supper she got out her book and learned me about Moses and the Bulrushers, and I was in a sweat to find out all about him; but by and by she let it out that Moses had been dead a considerable long time; so then I didn't care no more about him, because I don't take no stock in dead people.

To what does the following phrase refer? “In a barrel of odds and ends it is different; things get mixed up, and the juice kind of swaps around, and the things go better.”