CLEP / Analyzing and Interpreting Literature
Free Practice Test: CLEP Analyzing and Interpreting Literature
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CLEP / Analyzing and Interpreting Literature
So you’re thinking about taking the Analyzing and Interpreting Literature CLEP exam? Fantastic! Let me share what you’ll need to know.
The 100 question exam is designed to be the equivalent of a freshman single semester course. You’ll cover the basics, like understanding poetry and prose, before diving into a few trickier topics, like actually analyzing selected texts.
This exam will test your abilities in three primary areas: analyzing prose, analyzing poetry, and analyzing drama.
Let’s jump into all three:
Unlike poetry, prose often features longer sentences, and is organized in long paragraphs. Reading prose requires a good grasp of the context of the text, and an appreciation of how the writer is able to use words to create effects in terms of character or plot, or to describe something or convince us of an argument being made.
1) Read the prose piece once carefully and make an educated guess at what the themes or main ideas are.
Is the prose an extract from a narrative (story), with characters and a plot? Is it a piece of descriptive writing that paints a picture of an object or event? Is it a piece of non-fiction, giving an exposition of a concept or making an argument?
Narrative texts
You will need to figure out who the characters are and what the plot is (i.e., what is going on in the story). Many narratives will have some sort of conflict in the story, and will create tension. You will need to examine how the writer uses literary devices to tell the story and analyze what effects.
Descriptive texts
You will have to find out what is being described here. You must explain how the writer uses literary devices to describe the event or object and analyse what effects those devices have.
Non-fiction texts
These generally fall into two categories: they could be expository, describing and explaining objects, concepts, or events. They could be argumentative, trying to convince the reader of a certain point of view. You must examine how the writer uses language to create effects in the text.
2) How is it being narrated?
1st person narratives are told from the point of view of the “I” in the story. 2nd person narratives are rare, and “you” are the main character (think about how recipes and instruction manuals are written). 3rd person narratives feature an omniscient narrator, who knows everything in the story, or a limited narrator, who does not know everything and may also be involved in the story.
3) How are the characters portrayed?
Think about entering a room with several strangers inside. A voice from the ceiling tells you more about each person, describing what they look like, what they’re thinking and what they’re doing. You may not agree with that voice, but it sounds like a professional, and you decide to make note of how it is describing all these people and evaluate how these people are being portrayed.
4) What is the plot of the narrative?
Plot is the sequence of events in the story. Make notes on what the characters are doing. Conflict refers to the struggle that one or more characters undergo in a story, either against nature or against other characters. Make notes on how the writes structures the story and uses literary devices to create tension, making the reader feel excited about what might happen. For example, how does the writer make a lovers’ quarrel exciting?
Poetry is a very compressed form of writing featuring a limited number of words arranged in certain forms to affect the listener or reader. It is meant to be read out loud, so make notes as you read the poem several times and develop your interpretation. You will have to find out what is being described or what is going on.
1) Read the poem once carefully and try to figure out what is happening or what is being described.
How does the poem make you feel after the first reading? You will have to examine what is literally going on in the poem. This will require several readings from the title to the very last word. Mark out where the sentences begin and end. Is there a narrative (story)? Are there characters? Or is the poem more descriptive? Compare your evaluations with your initial feelings. What have the successive readings revealed about the poem?
2) What imagery is used in the poem?
Unlike prose, poetry is more about the imagery than the story. Poets use a range of literary devices to make the listener or reader feel a certain way about what they are talking about. Your task is to determine what literary devices are used and what they say about the objects, characters, or ideas of the poem.
3) How does the form of the poem contribute to its effects?
Form refers to the way the poem looks on a page, or how it sounds when it is read out loud. Form can divide the poem into sections, such as stanzas (a group of lines) to separate ideas or slow down the reader. Poems can also take on unique shapes to create a visual effect. Acrostic poems can contain a secret message. For example, all the initial letters in each line could spell something vertically. Poetry in the 19th century and earlier may feature stricter forms where a regular meter is essential.
Drama is meant to be performed on a stage, not read in a book. A play is a common dramatic form featuring characters and a story. Analyzing drama requires a good grasp of what is happening onstage, and an appreciation of how the playwright creates dramatic effects with words, sounds, and the interaction of characters.
1) Read the extract piece once carefully and make an educated guess at what is happening.
Take note of who the characters are. Although there may not be stage directions, you will need to imagine what the characters are doing. Drawing a diagram or making notes will help. As you analyze the extract, you can guess what the setting is (where and when the scene takes place), what the main conflict in the extract is, and what the themes (big ideas) are.
2) Read the text out loud. Try stressing certain words to see if there is a relatively regular rhythm in the lines.
Many of the most famous works of drama were created and staged during the Renaissance. They often featured “blank verse”, or un-rhymed lines with iambic pentameter. These lines may have been intended to emphasize the poetic delivery of the speaker or to indicate the authority of the character. At other times, characters could speak in a manner that is closer to how we speak English in everyday life.
3) How are the characters portrayed?
As the characters speak to each other and interact, we have to ask ourselves if the playwright wants us to sympathize with any of them. Are any of them behaving in especially admirable or cruel ways? Sometimes, especially in humorous situations, we may find ourselves sympathizing with a character who is playing tricks on other characters. How does the playwright achieve this?
Drama is all about conflict and tension. It may be a tragic situation that is serious and grave, or it may be a humorous situation where characters are fumbling, with all sorts of unintended consequences. Sometimes, the playwright creates tension through dramatic irony, a situation in which the audience knows what is happening, but not all the characters onstage may be aware of it.
1 And as to you Death, and you bitter hug of mortality, it is idle to try to alarm me.
To his work without flinching the accoucheur comes,
I see the elder-hand pressing receiving supporting,
I recline by the sills of the exquisite flexible doors,
5 And mark the outlet, and mark the relief and escape.
And as to you Corpse I think you are good manure, but that does not offend me,
I smell the white roses sweet-scented and growing,
I reach to the leafy lips, I reach to the polish’d breasts of melons.
And as to you Life I reckon you are the leavings of many deaths,
10 (No doubt I have died myself ten thousand times before.)
I hear you whispering there O stars of heaven,
O suns — O grass of graves — O perpetual transfers and promotions,
If you do not say any thing how can I say any thing?
Of the turbid pool that lies in the autumn forest,
15 Of the moon that descends the steeps of the soughing twilight,
Toss, sparkles of day and dusk — toss on the black stems that decay in the muck,
Toss to the moaning gibberish of the dry limbs.
I ascend from the moon, I ascend from the night,
I perceive that the ghastly glimmer is noonday sunbeams reflected,
20 And debouch to the steady and central from the offspring great or small.
Correct Answer: A. Lines 1, 6, 9, 11, 12, 13 and 17
Explanation: Personification means giving non-human objects human qualities.
1 And as to you Death, and you bitter hug of mortality, it is idle to try to alarm me.
To his work without flinching the accoucheur comes,
I see the elder-hand pressing receiving supporting,
I recline by the sills of the exquisite flexible doors,
5 And mark the outlet, and mark the relief and escape.
And as to you Corpse I think you are good manure, but that does not offend me,
I smell the white roses sweet-scented and growing,
I reach to the leafy lips, I reach to the polish’d breasts of melons.
And as to you Life I reckon you are the leavings of many deaths,
10 (No doubt I have died myself ten thousand times before.)
I hear you whispering there O stars of heaven,
O suns — O grass of graves — O perpetual transfers and promotions,
If you do not say any thing how can I say any thing?
Of the turbid pool that lies in the autumn forest,
15 Of the moon that descends the steeps of the soughing twilight,
Toss, sparkles of day and dusk — toss on the black stems that decay in the muck,
Toss to the moaning gibberish of the dry limbs.
I ascend from the moon, I ascend from the night,
I perceive that the ghastly glimmer is noonday sunbeams reflected,
20 And debouch to the steady and central from the offspring great or small.
Correct Answer: E. 1830 to 1870
Explanation: Walt Whitman’s poem ”Song of Myself”, experiments with a verse form that is not as rigid as those of the early 19th century.
1 And as to you Death, and you bitter hug of mortality, it is idle to try to alarm me.
To his work without flinching the accoucheur comes,
I see the elder-hand pressing receiving supporting,
I recline by the sills of the exquisite flexible doors,
5 And mark the outlet, and mark the relief and escape.
And as to you Corpse I think you are good manure, but that does not offend me,
I smell the white roses sweet-scented and growing,
I reach to the leafy lips, I reach to the polish’d breasts of melons.
And as to you Life I reckon you are the leavings of many deaths,
10 (No doubt I have died myself ten thousand times before.)
I hear you whispering there O stars of heaven,
O suns — O grass of graves — O perpetual transfers and promotions,
If you do not say any thing how can I say any thing?
Of the turbid pool that lies in the autumn forest,
15 Of the moon that descends the steeps of the soughing twilight,
Toss, sparkles of day and dusk — toss on the black stems that decay in the muck,
Toss to the moaning gibberish of the dry limbs.
I ascend from the moon, I ascend from the night,
I perceive that the ghastly glimmer is noonday sunbeams reflected,
20 And debouch to the steady and central from the offspring great or small.
Correct Answer: D. Walt Whitman
Explanation: Walt Whitman’s poem ”Song of Myself”
1 Being thus passed the vast ocean, and a sea of troubles…they had now no friends to
welcome them nor inns to entertain or refresh their weatherbeaten bodies; no houses
or much less towns to repair to, to seek for succor…savage barbarians…were readier to
fill their sides with arrows than otherwise. And for the reason it was winter, and they
5 that know the winters of that country know them to be sharp and violent, and subject to
cruel and fierce storms…all stand upon them with a weatherbeaten face, and the whole
country, full of woods and thickets, represented a wild and savage hue.
Correct Answer: B. The difficulty of settling in America
Explanation: The settlers found challenges as they had ”no friends” and encountered ”savage barbarians” and the weather was not hospitable.
1 Being thus passed the vast ocean, and a sea of troubles…they had now no friends to
welcome them nor inns to entertain or refresh their weatherbeaten bodies; no houses
or much less towns to repair to, to seek for succor…savage barbarians…were readier to
fill their sides with arrows than otherwise. And for the reason it was winter, and they
5 that know the winters of that country know them to be sharp and violent, and subject to
cruel and fierce storms…all stand upon them with a weatherbeaten face, and the whole
country, full of woods and thickets, represented a wild and savage hue.
Correct Answer: C. The poet portrays nature as a brutal entity
Explanation: Nature is brutal as it was ”sharp and violent”, and ”cruel and fierce”.
1 Being thus passed the vast ocean, and a sea of troubles…they had now no friends to
welcome them nor inns to entertain or refresh their weatherbeaten bodies; no houses
or much less towns to repair to, to seek for succor…savage barbarians…were readier to
fill their sides with arrows than otherwise. And for the reason it was winter, and they
5 that know the winters of that country know them to be sharp and violent, and subject to
cruel and fierce storms…all stand upon them with a weatherbeaten face, and the whole
country, full of woods and thickets, represented a wild and savage hue.
Correct Answer: D. They were violent and uncivilised
Explanation: The writer refers to them as ”savage barbarians”.
1 WILLY: How can he find himself on a farm? Is that a life? A farmhand? In the
beginning, when he was young, I thought, well, a young man, it’s good for
him to tramp around, take a lot of different jobs. But it’s more than ten years
now and he has yet to make thirty-five dollars a week!
5 LINDA: He’s finding himself, Willy.
WILLY: Not finding yourself at the age of thirty-four is a disgrace!
LINDA: Shh!
WILLY: The trouble is he’s lazy, goddammit!
LINDA: Willy, please!
10 WILLY: Biff is a lazy bum!
LINDA: They’re sleeping. Get something to eat. Go on down.
WILLY: Why did he come home? I would like to know what brought him home.
LINDA: I don’t know. I think he’s still lost, Willy. I think he’s very lost.
WILLY: Biff Loman is lost. In the greatest country in the world a young man with
15 such — personal attractiveness, gets lost. And such a hard worker. There’s
one thing about Biff — he’s not lazy.
LINDA: Never.
WILLY (with pity and resolve): I’ll see him in the morning; I’ll have a nice talk with
him. I’ll get him a job selling. He could be big in no time. My God!
20 Remember how they used to follow him around in high school? When he
smiled at one of them their faces lit up. When he walked down the street…
(He loses himself in reminiscences.)
Correct Answer: E. All of the above
Explanation:
1 WILLY: How can he find himself on a farm? Is that a life? A farmhand? In the
beginning, when he was young, I thought, well, a young man, it’s good for
him to tramp around, take a lot of different jobs. But it’s more than ten years
now and he has yet to make thirty-five dollars a week!
5 LINDA: He’s finding himself, Willy.
WILLY: Not finding yourself at the age of thirty-four is a disgrace!
LINDA: Shh!
WILLY: The trouble is he’s lazy, goddammit!
LINDA: Willy, please!
10 WILLY: Biff is a lazy bum!
LINDA: They’re sleeping. Get something to eat. Go on down.
WILLY: Why did he come home? I would like to know what brought him home.
LINDA: I don’t know. I think he’s still lost, Willy. I think he’s very lost.
WILLY: Biff Loman is lost. In the greatest country in the world a young man with
15 such — personal attractiveness, gets lost. And such a hard worker. There’s
one thing about Biff — he’s not lazy.
LINDA: Never.
WILLY (with pity and resolve): I’ll see him in the morning; I’ll have a nice talk with
him. I’ll get him a job selling. He could be big in no time. My God!
20 Remember how they used to follow him around in high school? When he
smiled at one of them their faces lit up. When he walked down the street…
(He loses himself in reminiscences.)
Correct Answer: D. Linda’s constant reminders that Willy should be more quiet
Explanation: The boys are sleeping.
1 WILLY: How can he find himself on a farm? Is that a life? A farmhand? In the
beginning, when he was young, I thought, well, a young man, it’s good for
him to tramp around, take a lot of different jobs. But it’s more than ten years
now and he has yet to make thirty-five dollars a week!
5 LINDA: He’s finding himself, Willy.
WILLY: Not finding yourself at the age of thirty-four is a disgrace!
LINDA: Shh!
WILLY: The trouble is he’s lazy, goddammit!
LINDA: Willy, please!
10 WILLY: Biff is a lazy bum!
LINDA: They’re sleeping. Get something to eat. Go on down.
WILLY: Why did he come home? I would like to know what brought him home.
LINDA: I don’t know. I think he’s still lost, Willy. I think he’s very lost.
WILLY: Biff Loman is lost. In the greatest country in the world a young man with
15 such — personal attractiveness, gets lost. And such a hard worker. There’s
one thing about Biff — he’s not lazy.
LINDA: Never.
WILLY (with pity and resolve): I’ll see him in the morning; I’ll have a nice talk with
him. I’ll get him a job selling. He could be big in no time. My God!
20 Remember how they used to follow him around in high school? When he
smiled at one of them their faces lit up. When he walked down the street…
(He loses himself in reminiscences.)
Correct Answer: C. Nature vs. Man
Explanation: Nature is not present.
1 WILLY: How can he find himself on a farm? Is that a life? A farmhand? In the
beginning, when he was young, I thought, well, a young man, it’s good for
him to tramp around, take a lot of different jobs. But it’s more than ten years
now and he has yet to make thirty-five dollars a week!
5 LINDA: He’s finding himself, Willy.
WILLY: Not finding yourself at the age of thirty-four is a disgrace!
LINDA: Shh!
WILLY: The trouble is he’s lazy, goddammit!
LINDA: Willy, please!
10 WILLY: Biff is a lazy bum!
LINDA: They’re sleeping. Get something to eat. Go on down.
WILLY: Why did he come home? I would like to know what brought him home.
LINDA: I don’t know. I think he’s still lost, Willy. I think he’s very lost.
WILLY: Biff Loman is lost. In the greatest country in the world a young man with
15 such — personal attractiveness, gets lost. And such a hard worker. There’s
one thing about Biff — he’s not lazy.
LINDA: Never.
WILLY (with pity and resolve): I’ll see him in the morning; I’ll have a nice talk with
him. I’ll get him a job selling. He could be big in no time. My God!
20 Remember how they used to follow him around in high school? When he
smiled at one of them their faces lit up. When he walked down the street…
(He loses himself in reminiscences.)
Correct Answer: D. It is an about the crisis of male identity
Explanation: The young men are unable to find work.
While quite short on the study side of things, the official CLEP book is the go-to final practice test. Since this is the only official practice test available, I normally use it as my final spot check before taking the test.
REA's study guide provides a fantastically thorough preparation for Analyzing and Interpreting Literature, with a great mix of CLEP study tips, exam study materials, and detailed practice tests. This book also comes with codes for REA's online practice test which mimics the format of the actual CLEP exam.
The website looks like it was made before the internet, but it’s legitimately the single most useful study guide I’ve found yet. Basically it’s a series of flashcards that help you study in a fast paced and fun way.