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Huckleberry Finn(Twain) Harry Potter(Rowling) Pride and Prejudice(Austin)
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Exercise 1
This passage is excerpted from Jane Austen, Northanger Abbey, originally published in 1803.
Mrs. Allen was so long in dressing that they did not enter the ballroom till late. As for Mr. Allen, he repaired directly to the card-room. With more care for the safety of her new gown than for the comfort of her protegee, Mrs. Allen made her way through the throng of men by the door, as swiftly as the necessary caution would allow; Catherine, however, kept close at her side, and linked her arm too ?rmly within her friend's to be torn asunder by any common effort of a struggling assembly. Still they moved on—something better was yet in view; and by a continued exertion of strength and ingenuity they found themselves at last in the passage behind the highest bench. It was a splendid sight, and she began, for the ?rst time that evening, to feel herself at a ball: she longed to dance, but she had not an acquaintance in the room. Catherine began to feel something of disappointment—she was tired of being continually pressed against by people, the generality of whose faces possessed nothing to interest, and with all of whom she was so wholly unacquainted that she could not relieve the irksomeness of imprisonment by the exchange of a syllable with any of her fellow captives. They saw nothing of Mr. Allen; and after looking about them in vain for a more eligible situation, were obliged to sit down at the end of a table, at which a large party were already placed, without having anything to do there, or anybody to speak to, except each other.
Mrs. Allen congratulated herself, as soon as they were seated, on having preserved her gown from injury. "It would have been very shocking to have it torn," said she, "would not it? It is such a delicate muslin. For my part I have not seen anything I like so well in the whole room, I assure you." "How uncomfortable it is," whispered Catherine, "not to have a single acquaintance here!"
"Yes, my dear," replied Mrs. Allen, with perfect serenity, "it is very uncomfortable indeed."
"What shall we do? The gentlemen and ladies at this table look as if they wondered why we came here—we seem forcing ourselves into their party."
"Aye, so we do. That is very disagreeable. I wish we had a large acquaintance here."
"I wish we had any—it would be somebody to go to." "Very true, my dear; and if we knew anybody we would join them directly. The Skinners were here last year—I wish they were here now."
"Had not we better go away as it is? Here are no tea-things for us, you see."
"No more there are, indeed. How very provoking! But I think we had better sit still, for one gets so tumbled in such a crowd! How is my head, my dear? Somebody gave me a push that has hurt it, I am afraid."
"No, indeed, it looks very nice. But, dear Mrs. Allen, are you sure there is nobody you know in all this multitude of people? I think you must know somebody."
"I don't, upon my word—I wish I did. I wish I had a large acquaintance here with all my heart, and then I should get you a partner. I should be so glad to have you dance. There goes a strange-looking woman! What an odd gown she has got on! How old-fashioned it is! Look at the back."
After some time they received an offer of tea from one of their neighbours; it was thankfully accepted, and this introduced a light conversation with the gentleman who offered it, which was the only time that anybody spoke to them during the evening, till they were discovered and joined by Mr. Allen when the dance was over.
"Well, Miss Morland," said he, directly, "I hope you have had an agreeable ball."
"Very agreeable indeed," she replied, vainly endeavouring to hide a great yawn.
"I wish she had been able to dance," said his wife; "I wish we could have got a partner for her. I have been saying how glad I should be if the Skinners were here this winter instead of last; or if the Parrys had come, as they talked of once, she might have danced with George Parry. I am so sorry she has not had a partner!"
"We shall do better another evening I hope," was Mr. Allen's consolation.
QUESTION 1 OF 11
The main purpose of the ?rst paragraph is to
A establish the distant relationship between Mr. and Mrs.
Allen.
B show how claustrophobic and crowded the ballroom is.
C describe the main characters' belated arrival at the ball.
D introduce the friendship between Catherine and Mrs.
Allen.
QUESTION 2 OF 11
The narrator implies that Catherine
A did not have an enjoyable time at the ball.
B would rather not have to dance with anyone.
C had a ?ne time at the ball in spite of herself.
D does not like keeping the company of Mrs. Allen. QUESTION 3 OF 11
Which choice provides the best evidence for the answer to the previous question?
A lines 3–9 (“With . . . assembly”)(“With more care for the
safety of her new gown than for the comfort of her protegee,
Mrs. Allen made her way through the throng of men by the
door, as swiftly as the necessary caution would allow;
Catherine, however, kept close at her side, and linked her
arm too ?rmly within her friend's to be torn asunder by any
common effort of a struggling assembly.”)
B lines 12–14 (“It . . . room”)(“It was a splendid sight, and
she began, for the ?rst time that evening, to feel herself at a
ball: she longed to dance, but she had not an acquaintance
in the room.”)
Line 5
10 15 20 25 30 35 40 45 5060 55 65 70 75
C lines 15–20 (“Catherine . . . captives”)(“Catherine began
to feel something of disappointment—she was tired of being
continually pressed against by people, the generality of
whose faces possessed nothing to interest, and with all of
whom she was so wholly unacquainted that she could not
relieve the irksomeness of imprisonment by the exchange
of a syllable with any of her fellow captives.”)
D lines 20–25 (“They . . . other”)(“They saw nothing of Mr.
Allen; and after looking about them in vain for a more
eligible situation, were obliged to sit down at the end of a
table, at which a large party were already placed, without
having anything to do there, or anybody to speak to, except
each other.”)
QUESTION 4 OF 11
In line 11 (“ingenuity”), “ingenuity” most nearly means
A brilliance.
B dexterity.
C inventiveness.
D intellect.
QUESTION 5 OF 11
The description of Mrs. Allen in lines 26–30 (“Mrs. Allen congratulated herself, as soon as they were seated, on having preserved her gown from injury. "It would have been very shocking to have it torn," said she, "would not it? It is such a delicate muslin. For my part I have not seen anything I like so well in the whole room, I assure you.””) primarily serves to
A illustrate her unruf?ed personality.
B highlight her scrupulousness.
C show her expensive tastes.
D establish her sense of vanity.
QUESTION 6 OF 11
According to the passage, Catherine is “uncomfortable” because
A it is too noisy, crowded, and warm.
B they do not know anyone at the ball.
C they have arrived at the ball very late.
D their dresses are at risk of being torn.
QUESTION 7 OF 11
Which statement best characterizes the relationship between Mrs. Allen and Catherine?
A Catherine is irritated by Mrs. Allen but defers to her in
conversation
B Catherine is amused by Mrs. Allen but is frustrated by her
lack of social connections
C Catherine is impressed by Mrs. Allen and is interested in
her social contacts
D Catherine is angered by Mrs. Allen and believes her
social tactics are ineffective
QUESTION 8 OF 11
Which choice provides the best evidence for the answer to the previous question?
A lines 31–34 (“How . . . indeed”)(“"How uncomfortable it
is," whispered Catherine, "not to have a single
acquaintance here!"”)
B lines 35–39 (“What . . . here”)(“"What shall we do? The
gentlemen and ladies at this table look as if they wondered
why we came here—we seem forcing ourselves into their
party."”)
C lines 40–43 (“I . . . now”)(“"I wish we had any—it would be
somebody to go to."”)
D lines 50–52 (“But . . . somebody”)(“But, dear Mrs. Allen,
are you sure there is nobody you know in all this multitude
of people? I think you must know somebody."”) QUESTION 9 OF 11
As used in line 65 (“agreeable”) , “agreeable” most nearly means
A enjoyable.
B acceptable.
C tolerable.
D common.
QUESTION 10 OF 11
Mrs. Allen’s response in lines 53–55 (“I . . . dance”)(“"I don't, upon my word—I wish I did. I wish I had a large acquaintance here with all my heart, and then I should get you a partner. I should be so glad to have you dance.”)mainly serves to
A show how shunned they are in the midst of the ball.
B highlight her attempts to expand her social circle.
C emphasize the goal of ?nding Catherine a partner.
D demonstrate their inability to mingle with new
acquaintances.
QUESTION 11 OF 11
The conversation between Mr. Allen and Catherine in lines 64–67 (“Well . . . yawn”) (“"Well, Miss Morland," said he, directly, "I hope you have had an agreeable ball."”)reveals that Catherine is
A only being polite to Mr. Allen to conceal her real feelings.
B incredibly tired and therefore not paying attention to Mr.
Allen.
C extremely bored and doesn’t care if Mr. Allen notices it.
D offended by Mr. Allen’s question and answers
sarcastically.
Exercise 2
This passage is excerpted from L.M. Montgomery, “The Gossip of Valley View,” originally published in 1910.
It was the ?rst of April, and Julius Barrett, aged fourteen, perched on his father's gatepost, watched ruefully the low descending sun, and counted that day lost. He had not succeeded in "fooling" a single person, although he had tried repeatedly. One and all, old and young, of his intended victims had been too wary for Julius. Hence, Julius was disgusted and ready for anything in the way of a stratagem or a spoil.
The Barrett gatepost topped the highest hill in Valley View. Julius could see the entire settlement, from "Young" Thomas Everett's farm, a mile to the west, to Adelia Williams's weather-grey little house on a moonrise slope to the east. He was gazing moodily down the muddy road when Dan Chester, homeward bound from the post of?ce, came riding sloppily along on his grey mare and pulled up by the Barrett gate to hand a paper to Julius. Dan was a young man who took life and himself very seriously. He seldom smiled, never joked, and had a Washingtonian reputation for veracity. Dan had never told a conscious falsehood in his life; he never even exaggerated.
Julius, beholding Dan's solemn face, was seized with a perfectly irresistible desire to "fool" him. At the same moment his eye caught the dazzling re?ection of the setting sun on the windows of Adelia Williams's house, and he had an inspiration little short of diabolical. "Have you heard the news, Dan?" he asked.
"No, what is it?" asked Dan.
"I dunno's I ought to tell it," said Julius re?ectively. "It's kind of a family affair, but then Adelia didn't say not to, and anyway it'll be all over the place soon. So I'll tell you, Dan, if you'll promise never to tell who told you. Adelia Williams and Young Thomas Everett are going to be married."
Julius delivered himself of this tremendous lie with a transparently earnest countenance. Yet Dan, credulous as he was, could not believe it all at once.
"Git out," he said.
"It's true, 'pon my word," protested Julius. "Adelia was up last night and told Ma all about it. Ma's her cousin, you know. The wedding is to be in June, and Adelia asked Ma to help her get her quilts and things ready."
Julius reeled all this off so glibly that Dan ?nally believed the story, despite the fact that the people thus coupled together in prospective matrimony were the very last people in Valley View who could have been expected to marry each other. Young Thomas was a con?rmed bachelor of ?fty, and Adelia Williams was forty; they were not supposed to be even well acquainted, as the Everetts and the Williamses had never been very friendly, although no open feud existed between them.
Nevertheless, in view of Julius's circumstantial statements, the amazing news must be true, and Dan was instantly agog to carry it further. Julius watched Dan and the grey mare out of sight, fairly writhing with ecstasy. Oh, but Dan had been easy! The story would be all over Valley View in twenty-four hours. Julius laughed until he came near to falling off the gatepost.
At this point Julius and Danny drop out of our story, and Young Thomas enters.
It was two days later when Young Thomas heard that he was to be married to Adelia Williams in June. Eben Clark, the blacksmith, told him when he went to the forge to get his horse shod. Young Thomas laughed his big jolly laugh. Valley View gossip had been marrying him off for the last thirty years, although never before to Adelia Williams.
"It's news to me," he said tolerantly.
Eben grinned broadly. "Ah, you can't bluff it off like that, Tom," he said. "The news came too straight this time. Well, I was glad to hear it, although I was mighty surprised. I never thought of you and Adelia. But she's a ?ne little woman and will make you a capital wife."
Young Thomas grunted and drove away. He had a good deal of business to do that day, involving calls at various places—the store for molasses, the mill for ?our, Jim Bentley's for seed grain, the doctor's for toothache drops for his housekeeper, the post of?ce for mail—and at each and every place he was joked about his approaching marriage. In the end it rather annoyed Young Thomas. He drove home at last in what was for him something of a temper. How on earth had that fool story started? With such detailed circumstantiality of rugs and quilts, too? Adelia Williams must be going to marry somebody, and the Valley View gossips, unable to locate the man, had guessed Young Thomas.
QUESTION 1 OF 11
Over the course of the passage, the main focus shifts from
A a character’s attempt at a practical joke to the effect felt
by another character.
B a depiction of a small town to the relationships among the
characters in the town.
C a character’s humorous behavior to the evolution of a
story passed around the town.
D a description of a friendship to a discussion of a prank
perpetuated by the town.
QUESTION 2 OF 11
Which statement best characterizes the relationship between Julius and Dan?
A Dan is trusting of Julius and does not question his story
about Thomas.
B Dan is skeptical by nature but trusts Julius to always tell
him the truth.
C Dan's disposition makes him an attractive target for
Julius' plan.
D Dan’s attitude towards Julius illustrates an imbalanced
friendship.
Line 5
10 15 20 25 30 35 40 45 5060 55 65 70 75 80
QUESTION 3 OF 11
As used in line 2 (“ruefully”) , the phrase “ruefully” most nearly means
A mournfully.
B apologetically.
C repentantly.
D angrily.
QUESTION 4 OF 11
As used in line 18 (“veracity.”), “veracity” most nearly means
A candor.
B truthfulness.
C verisimilitude.
D impartiality.
QUESTION 5 OF 11
The conversation between Julius and Dan serves mainly to
A show how bored Julius is with the inhabitants of Valley
View.
B provide a context for the relationships in the community.
C demonstrate Dan’s gullibility when it comes to rumors.
D establish why Julius’ story was so widely accepted. QUESTION 6 OF 11
Which choice provides the best evidence for the answer to the previous question?
A lines 3–5 (“He . . . repeatedly”)(“He had not succeeded in
"fooling" a single person, although he had tried repeatedly.”)
B lines 33–34 (“Julius . . . countenance”)(“Julius delivered
himself of this tremendous lie with a transparently earnest
countenance.”)
C lines 45–49 (“Young Thomas . . . them”)(“Young Thomas
was a con?rmed bachelor of ?fty, and Adelia Williams was
forty; they were not supposed to be even well acquainted,
as the Everetts and the Williamses had never been very
friendly, although no open feud existed between them.”)
D lines 50–52 (“Nevertheless . . . further”)(“Nevertheless, in
view of Julius's circumstantial statements, the amazing
news must be true, and Dan was instantly agog to carry it
further.”)
QUESTION 7 OF 11
In the passage, Dan is characterized as someone who is
A honest.
B foolish.
C stubborn.
D distrustful.
QUESTION 8 OF 11
Which choice provides the best evidence for the answer to the previous question?
A lines 16–20 (“Dan . . . exaggerated”)(“Dan was a young
man who took life and himself very seriously. He seldom
smiled, never joked, and had a Washingtonian reputation
for veracity. Dan had never told a conscious falsehood in his
life; he never even exaggerated.”)
B lines 21–22 (“Julius . . . him”)(“Julius, beholding Dan's
solemn face, was seized with a perfectly irresistible desire
to "fool" him.”)
C lines 34–35 (“Yet . . . once”)(“Yet Dan, credulous as he
was, could not believe it all at once.”)
D lines 53–54 (“Oh . . . easy”)(“Oh, but Dan had been
easy!”)
QUESTION 9 OF 11
lines 57–58 (“At . . .enters”) (“At this point Julius and Danny drop out of our story, and Young Thomas enters.”) serves mainly to
A introduce a new character and setting to the story.
B show the resulting impact of the rumor Julius started.
C add a surprising twist to the story.
D create a sense of suspense for the outcome of the prank. QUESTION 10 OF 11
Eben’s comments in lines 66–70 (“Ah . . . wife”) (“"Ah, you can't bluff it off like that, Tom," he said. "The news came too straight this time. Well, I was glad to hear it, although I was mighty surprised. I never thought of you and Adelia. But she's a ?ne little woman and will make you a capital wife.””) primarily indicate that he
A disagrees strongly with Thomas.
B ?nds the rumor to be funny.
C believes that Thomas is lying.
D feels unsurprised by the match.
QUESTION 11 OF 11
It can be inferred that Tom is "in something of a temper" because he
A feels exasperated by Julius’ tendency to gossip.
B believes Adelia doesn’t want to marry him.
C is agitated that he is the subject of a rumor.
D has too many errands to run in Valley View.
Exercise 3
This passage is excerpted from Kate Chopin, "The Awakening," originally published in 1899.
"Would you like to hear Mademoiselle Reisz play?" asked Robert, coming out on the porch where she was. Of course Edna would like to hear Mademoiselle Reisz play; but she feared it would be useless to entreat her.
"I'll ask her," he said. "I'll tell her that you want to hear her. She likes you. She will come." He turned and hurried away to one of the far cottages, where Mademoiselle Reisz was shuf?ing away. She was dragging a chair in and out of her room, and at intervals objecting to the crying of a baby, which a nurse in the adjoining cottage was endeavoring to put to sleep. She was a disagreeable little woman, no longer young, who had quarreled with almost every one, owing to a temper which was self-assertive and a disposition to trample upon the rights of others. Robert prevailed upon her without any too great dif?culty.
She entered the hall with him during a lull in the dance. She made an awkward, imperious little bow as she went in. She was a homely woman, with a small weazened face and body and eyes that glowed. She had absolutely no taste in dress, and wore a batch of rusty black lace with a bunch of arti?cial violets pinned to the side of her hair.
"Ask Mrs. Pontellier what she would like to hear me play," she requested of Robert. She sat perfectly still before the piano, not touching the keys, while Robert carried her message to Edna at the window. A general air of surprise and genuine satisfaction fell upon every one as they saw the pianist enter. There was a settling down, and a prevailing air of expectancy everywhere. Edna was a tri?e embarrassed at being thus signaled out for the imperious little woman's favor. She would not dare to choose, and begged that Mademoiselle Reisz would please herself in her selections Edna was what she herself called very fond of music. Musical strains, well rendered, had a way of evoking pictures in her mind. She sometimes liked to sit in the room of mornings when Madame Ratignolle played or practiced. One piece which that lady played Edna had entitled "Solitude." It was a short, plaintive, minor strain. The name of the piece was something else, but she called it "Solitude." When she heard it there came before her imagination the ?gure of a man standing beside a desolate rock on the seashore. . . His attitude was one of hopeless resignation as he looked toward a distant bird winging its ?ight away from him.
Another piece called to her mind a dainty young woman clad in an Empire gown, taking mincing dancing steps as she came down a long avenue between tall hedges. Again, another reminded her of children at play, and still another of nothing on earth but a demure lady stroking a cat.
The very ?rst chords which Mademoiselle Reisz struck upon the piano sent a keen tremor down Mrs. Pontellier's spinal column.It was not the ?rst time she had heard an artist at the piano. Perhaps it was the ?rst time she was ready, perhaps the ?rst time her being was tempered to take an impress of the abiding truth.
She waited for the material pictures which she thought would gather and blaze before her imagination. She waited in vain. She saw no pictures of solitude, of hope, of longing, or of despair. But the very passions themselves were aroused within her soul, swaying it, lashing it, as the waves daily beat upon her splendid body. She trembled, she was choking, and the tears blinded her.
Mademoiselle had ?nished. She arose, and bowing her stiff, lofty bow, she went away, stopping for neither thanks nor applause. As she passed along the gallery she patted Edna upon the shoulder.
"Well, how did you like my music?" she asked. The young woman was unable to answer; she pressed the hand of the pianist convulsively. Mademoiselle Reisz perceived her agitation and even her tears. She patted her again upon the shoulder as she said:
"You are the only one worth playing for. Those others?
Bah!" and she went shuf?ing and sidling on down the gallery toward her room.
QUESTION 1 OF 11
Over the course of the passage, the main focus shifts from
A a description of one woman to a detailed characterization
of a group of people.
B a depiction of a place to a statement of one character’s
opinions about that place.
C opinions shared by many laypeople to opinions held by a
great artist.
D the setup of a situation to one character’s reaction to that
situation.
QUESTION 2 OF 11
In paragraph 4 (lines 22–28 (“"Ask Mrs. Pontellier …everywhere.”) ), the words “satisfaction” and “expectancy” serve mainly to
A show that those in attendance have ?xed ideas about
Mademoiselle Reisz’s performance.
B characterize Mademoiselle Reisz’s feelings about being
asked to play for the group.
C indicate that Edna has been waiting for Mademoiselle
Reisz to acknowledge her presence.
D demonstrate that the listeners anticipate that
Mademoiselle Reisz will not be able to play the pieces well. QUESTION 3 OF 11
The primary purpose of paragraphs 2 and 3 (lines 5–21
(“"I'll ask her," …dif?culty.”) ) is to
A characterize Mademoiselle Reisz as someone who
delights in making people uncomfortable solely for her own
amusement.
B emphasize that Madame Reisz has changed a great deal
in the time Edna has known her.
C describe Mademoiselle Reisz’s interaction with Robert,
which re?ects her general interest in social pleasantries.
D establish Mademoiselle Reisz’s unpleasant attitude and
Line 5
10 15 20 25 30 35 40 45 5060 55 65 70
appearance, which contrast with the beautiful music she
makes.
QUESTION 4 OF 11
It can be reasonably inferred that Edna refuses to choose the music that Mademoiselle Reisz will play because she
A feels that her musical education is insuf?cient for the
honor of making the selection.
B is uncomfortable with being treated differently than the
other guests.
C does not know what music the other guests would prefer
to hear.
D wants to hear “Solitude” but doesn’t know how to ask for
it.
QUESTION 5 OF 11
Which choice provides the best evidence for the answer to the previous question?
A lines 28–30 (“Edna . . . favor”)(“Edna was a tri?e
embarrassed at being thus signaled out for the imperious
little woman's favor.”)
B line 32 (“Edna . . . music”)(“Edna was what she herself
called very fond of music.”)
C lines 34–35 (“She . . . practiced”)(“She sometimes liked to
sit in the room of mornings when Madame Ratignolle played
or practiced.”)
D lines 35–37 (“One . . . strain”)(“ One piece which that lady
played Edna had entitled "Solitude." It was a short,
plaintive, minor strain.”)
QUESTION 6 OF 11
As used in line 33 (“rendered”), “rendered” most nearly means
A covered
B made
C provided
D performed
QUESTION 7 OF 11
The imagery in paragraph 5 (lines 38–42 (“When she heard it there came before her imagination the ?gure of a man standing beside a desolate rock on the seashore. . . His attitude was one of hopeless resignation as he looked toward a distant bird winging its ?ight away from him.”) ) mainly serves to
A show that Edna’s imagination is not in?uenced by her
surroundings.
B demonstrate Edna’s inability to distinguish reality from
fantasy.
C characterize the vivid scenes music brings to Edna’s
mind.
D make it clear that Edna longs to be alone in an isolated
environment.
QUESTION 8 OF 11
The “dainty young woman clad in an Empire gown” (lines 43–44
(“a dainty young woman clad in an Empire gown”) ) is best understood to be
A a member of the group.
B someone about whom Mademoiselle Ratignolle is
singing.
C an imaginary woman.
D Edna as a child.
QUESTION 9 OF 11
It can be reasonably inferred that Mademoiselle Reisz considers Edna to be worth playing for because
A only Edna has received enough training to fully
appreciate the music.
B Edna feels passionately and deeply about the music.
C Edna has never had the opportunity to hear her play
before.
D only Edna understands how it feels to be a musician. QUESTION 10 OF 11
Which choice provides the best evidence for the answer to the previous question?
A lines 50–51 (“It was . . . piano”)(“It was not the ?rst time
she had heard an artist at the piano.”)
B lines 54–55 (“She . . . imagination”)(“She waited for the
material pictures which she thought would gather and blaze
before her imagination.”)
C lines 63–64 (“As she . . . shoulder”)(“As she passed along
the gallery she patted Edna upon the shoulder.”)
D lines 67–68 (“Mademoiselle . . . tears”)(“Mademoiselle
Reisz perceived her agitation and even her tears.”)
QUESTION 11 OF 11
The passage suggests that Edna views Mademoiselle Reisz as someone who is
A intimidating but profound.
B cold and uninviting.
C motherly and inspiring.
D misguided but irresponsible.
Exercise 4
This passage is excerpted from Louisa May Alcott, Rose in Bloom, originally published in 1876.
Three young men stood together on a wharf one bright October day awaiting the arrival of an ocean steamer with an impatience which found a vent in lively skirmishes with a small lad, who pervaded the premises like a will-o'-the-wisp and afforded much amusement to the other groups assembled there.
"They are the Campbells, waiting for their cousin, who has been abroad several years with her uncle, the doctor," whispered one lady to another as the handsomest of the young men touched his hat to her as he passed, lugging the boy, whom he had just rescued from a little expedition down among the piles.
"Which is that?" asked the stranger.
"Prince Charlie, as he's called a ?ne fellow, the most promising of the seven, but a little fast, people say," answered the ?rst speaker with a shake of the head. "Are the others his brothers?"
"No, cousins. The elder is Archie, a most exemplary young man. He has just gone into business with the merchant uncle and bids fair to be an honor to his family. The other, with the eyeglasses and no gloves, is Mac, the odd one, just out of college."
"And the boy?"
"Oh, he is Jamie, the youngest brother of Archibald, and the pet of the whole family. Mercy on us he'll be in if they don't hold on to him!"
The ladies' chat came to a sudden end just there, for by the time Jamie had been ?shed out of a hogshead, the steamer hove in sight and everything else was forgotten. As it swung slowly around to enter the dock, a boyish voice shouted, "There she is! I see her and Uncle and Phebe! Hooray for Cousin Rose!" And three small cheers were given with a will by Jamie as he stood on a post waving his arms like a windmill while his brother held onto the tail of his jacket. Yes, there they were, Uncle Alec swinging his hat like a boy, with Phebe smiling and nodding on one side and Rose kissing both hands delightedly on the other as she recognized familiar faces and heard familiar voices welcoming her home.
"Bless her dear heart, she's bonnier than ever! Looks like a Madonna doesn't she? with that blue cloak round her, and her bright hair ?ying in the wind!" said Charlie excitedly as they watched the group upon the deck with eager eyes. "Madonnas don't wear hats like that. Rose hasn't changed much, but Phebe has. Why, she's a regular beauty!" answered Archie, staring with all his might at the dark-eyed young woman with the brilliant color and glossy black braids shining in the sun.
"Dear old Uncle! Doesn't it seem good to have him back?" was all Mac said, but he was not looking at "dear old uncle" as he made the fervent remark, for he saw only the slender blond girl nearby and stretched out his hands to meet hers, forgetful of the green water tumbling between them.
During the confusion that reigned for a moment as the steamer settled to her moorings, Rose looked down into the four faces upturned to hers and seemed to read in them something that both pleased and pained her. It was only a glance, and her own eyes were full, but through the mist of happy tears she received the impression that Archie was about the same, that Mac had decidedly improved, and that something was amiss with Charlie. There was no time for observation, however, for in a moment the shoreward rush began, and before she could grasp her traveling bag, Jamie was clinging to her like an ecstatic young bear. She was with dif?culty released from his embrace to fall into the gentler ones of the elder cousins, who took advantage of the general excitement to welcome both blooming girls with affectionate impartiality. Then the wanderers were borne ashore in a triumphal procession, while Jamie danced rapturous jigs before them even on the gangway.
Archie remained to help his uncle get the luggage through the Custom House, and the others escorted the damsels home. No sooner were they shut up in a carriage, however, than a new and curious constraint seemed to fall upon the young people, for they realized, all at once, that their former playmates were men and women now.
QUESTION 1 OF 11
Which choice best summarizes the passage?
A The passage provides an explanation of relationships
within a family.
B The passage presents a revelation about children
growing older.
C The passage captures a conversation regarding reuniting
cousins.
D The passage describes an anecdote about traveling by
ship.
QUESTION 2 OF 11
Over the course of the passage, the attitude of the cousins shifts from
A preoccupation to constraint.
B apprehension to embarrassment.
C anticipation to reticence.
D contemplation to dif?dence.
QUESTION 3 OF 11
Which statement best characterizes the relationship among the reunited cousins?
A They are excited to get back to their ordinary lives and
friendships.
B They have changed too dramatically to ?nd anything in
common.
C The younger cousins help put the older cousins at ease.
D Their growing up has put limitations on their relationships.
Line 5
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QUESTION 4 OF 11
As used in line 3 (“vent”) , “vent” most nearly means
A opening.
B outlet.
C crack.
D passage.
QUESTION 5 OF 11
The conversation between the lady and the stranger in lines 7–26 (“"They are the Campbells, waiting for their cousin, who has been abroad several years with her uncle, the doctor," whispered one lady to another as the handsomest of the young men touched his hat to her as he passed, lugging the boy, whom he had just rescued from a little expedition down among the piles.”) (“They . . . him”) serves primarily to
A show how the town locals tend to gossip about the
family.
B establish the relationships among the reuniting family.
C introduce the traits of the family members who are
waiting.
D demonstrate the lady’s lack of knowledge about the
family.
QUESTION 6 OF 11
Which choice provides the best evidence for the answer to the previous question?
A lines 7–8(“They are the Campbells, waiting for their
cousin, who has been abroad several years with her uncle,
the doctor,"”)
(“They . . . doctor”)
B lines 14–15(“"Prince Charlie, as he's called a ?ne fellow,
the most promising of the seven, but a little fast, people
say," ”)
(“Prince . . . say”)
C lines 18–20(“The elder is Archie, a most exemplary young
man. He has just gone into business with the merchant
uncle and bids fair to be an honor to his family. ”)
(“The . . . family”)
D lines 24–26(“"Oh, he is Jamie, the youngest brother of
Archibald, and the pet of the whole family. Mercy on us he'll
be in if they don't hold on to him”)
(“Oh . . . him”)
QUESTION 7 OF 11
Archie’s comments in lines 44–45 (“"Madonnas don't wear hats like that. Rose hasn't changed much, but Phebe has. Why, she's a regular beauty!””) (“Madonnas . . . beauty”) primarily indicate that he
A disagrees strongly with Charlie.
B ?nds Phebe to be beautiful.
C thinks Rose looks like a Madonna.
D feels distracted by Rose and Phebe.
QUESTION 8 OF 11
The description (lines 50–53(“ was all Mac said, but he was not looking at "dear old uncle" as he made the fervent remark, for he saw only the slender blond girl nearby and stretched out his hands to meet hers, forgetful of the green water tumbling between them.”) ) that follows Mac's comment in line 49 (“"Dear old Uncle! Doesn't it seem good to have him back?””) ("Dear . . . back") reveals that Mac is
A not actually paying attention to his uncle.
B unaware of the possibility of falling in the ocean.
C more excited to see his uncle than he is to see Rose.
D distracted by all the excitement in the crowd. QUESTION 9 OF 11
It can be inferred that Rose is "both pleased and pained" when she views her cousins from the ship because she
A feels exhausted and confused after a long journey by
sea.
B believes her cousins don’t recognize her anymore.
C senses that her relationship with her cousins has
changed.
D concludes that her cousins’ lives have gotten better
without her.
QUESTION 10 OF 11
Which choice provides the best evidence for the answer to the previous question?
A lines 57–61(“It was only a glance, and her own eyes
were full, but through the mist of happy tears she received
the impression that Archie was about the same, that Mac
had decidedly improved, and that something was amiss
with Charlie.”)
(“It . . . Charlie”)
B lines 64–68(“ She was with dif?culty released from his
embrace to fall into the gentler ones of the elder cousins,
who took advantage of the general excitement to welcome
both blooming girls with affectionate impartiality. ”)
(“She . . . impartiality”)
C lines 61–64(“ There was no time for observation,
however, for in a moment the shoreward rush began, and
before she could grasp her traveling bag, Jamie was
clinging to her like an ecstatic young bear.”)
(“There . . . bear”)
D lines 73–76(“No sooner were they shut up in a carriage,
however, than a new and curious constraint seemed to fall
upon the young people, for they realized, all at once, that
their former playmates were men and women now.”)
(“No . . . now”)
QUESTION 11 OF 11
As used in lines 67–68 (“affectionate impartiality”), the phrase “affectionate impartiality” most nearly means
A restraint.
B aloofness.
C tenderness.
D enthusiasm.
Exercise 5
This passage is excerpted from Jules Verne, Around the World in Eighty Days. Originally published in 1873.
The mansion in Saville Row, though not sumptuous, was exceedingly comfortable. The habits of its occupant were such as to demand but little from the sole domestic, but Phileas Fogg required him to be almost superhumanly prompt and regular. On this very 2nd of October he had dismissed James Forster, because that luckless youth had brought him shaving-water at eighty-four degrees Fahrenheit instead of eighty-six; and he was awaiting his successor, who was due at the house between eleven and half-past.
Phileas Fogg was seated squarely in his armchair, his feet close together like those of a grenadier on parade, his hands resting on his knees, his body straight, his head erect; he was steadily watching a complicated clock which indicated the hours, the minutes, the seconds, the days, the months, and the years. At exactly half-past eleven Mr. Fogg would, according to his daily habit, quit Saville Row, and repair to the Reform1.
A rap at this moment sounded on the door of the cosy apartment where Phileas Fogg was seated, and James Forster, the dismissed servant, appeared.
"The new servant," said he.
A young man of thirty advanced and bowed.
"You are a Frenchman, I believe," asked Phileas Fogg, "and your name is John?"
"Jean, if monsieur pleases," replied the newcomer, "Jean Passepartout, a surname which has clung to me because I have a natural aptness for going out of one business into another. I believe I'm honest, monsieur, but, to be outspoken, I've had several trades. I've been an itinerant singer, a circus-rider, when I used to vault like Leotard,2 and dance on a rope like Blondin.3 Then I got to be a professor of gymnastics, so as to make better use of my talents; and then I was a sergeant ?reman at Paris, and assisted at many a big ?re. But I quitted France ?ve years ago, and, wishing to taste the sweets of domestic life, took service as a valet here in England. Finding myself out of place, and hearing that Monsieur Phileas Fogg was the most exact and settled gentleman in the United Kingdom, I have come to monsieur in the hope of living with him a tranquil life, and forgetting even the name of Passepartout."
"Passepartout suits me," responded Mr. Fogg. "You are well recommended to me; I hear a good report of you. You know my conditions?"
"Yes, monsieur."
"Good! What time is it?"
"Twenty-two minutes after eleven," returned Passepartout, drawing an enormous silver watch from the depths of his pocket.
"You are too slow," said Mr. Fogg.
"Pardon me, monsieur, it is impossible—"
"You are four minutes too slow. No matter; it's enough to mention the error. Now from this moment, twenty-nine minutes after eleven, a.m., this Wednesday, 2nd October, you are in my service."
Phileas Fogg got up, took his hat in his left hand, put it on his head with an automatic motion, and went off without a word.
Passepartout heard the street door shut once; it was his new master going out. He heard it shut again; it was his predecessor, James Forster, departing in his turn. Passepartout remained alone in the house in Saville Row.
1A private members’ club in London
2A French acrobat
3A French tightrope walker and acrobat
QUESTION 1 OF 10
Over the course of the passage, the main focus shifts from
A a description of one character to an illustration of that
character’s interactions with another character.
B a characterization of the upper classes to an exposure of
problems with the social order.
C a depiction of a particular place and time to a prediction
about one man’s future.
D opinions held by an employer to the views asserted by a
potential employee.
QUESTION 2 OF 10
The narrator describes the circumstances under which James Forster was ?red most likely in order to
A emphasize the standards that Phileas Fogg demands
from his employees.
B demonstrate the unfairness of Phileas Fogg’s methods.
C represent social conditions that Phileas Fogg
perpetuates.
D show Phileas Fogg’s random acts of cruelty. QUESTION 3 OF 10
In paragraph two (lines 10–17(“Phileas Fogg was seated squarely in his armchair, his feet close together like those of a grenadier on parade, his hands resting on his knees, his body straight, his head erect; he was steadily watching a complicated clock which indicated the hours, the minutes, the seconds, the days, the months, and the years. At exactly half-past eleven Mr. Fogg would, according to his daily habit, quit Saville Row, and repair to the Reform.*”)), the narrator characterizes Mr. Fogg as someone who
A lacks friends and unwillingly spends most of his time in
solitude.
B has become jaded and predictable after time spent in the
military.
C has high standards for both comportment and punctuality.
D becomes bored easily because of his lack of interests.
QUESTION 4 OF 10
As used in line 22(“ advanced”), “advanced” most nearly means
A promoted.
B approached.
Line 5
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C loaned.
D supported.
QUESTION 5 OF 10
In the seventh paragraph (lines 33–40(“But I quitted France ?ve years ago, and, wishing to taste the sweets of domestic life, took service as a valet here in England. Finding myself out of place, and hearing that Monsieur Phileas Fogg was the most exact and settled gentleman in the United Kingdom, I have come to monsieur in the hope of living with him a tranquil life, and forgetting even the name of Passepartout."”)), the words “sweets,” “settled,” and “tranquil” primarily serve to
A characterize Passepartout’s past.
B reveal Passepartout’s harsh and manipulative side.
C describe Passepartout’s approach to all of his career
choices.
D describe Passepartout’s ideal work environment. QUESTION 6 OF 10
Mr. Fogg's "conditions" (line 43(“ conditions”)) can reasonably be inferred to include
A the exacting and precise standards he expects of his
employees.
B his employee’s willingness to take on a variety of different
jobs.
C excellent references from former employers.
D a name that he ?nds suitable.
QUESTION 7 OF 10
Which choice provides the best evidence for the answer to the previous question?
A lines 4–5(“Phileas Fogg required him to be almost
superhumanly prompt and regular.”)
(“Phileas . . . regular”)
B lines 26–28(“I have a natural aptness for going out of one
business into another.”)
(“I . . . another”)
C line 41(“"Passepartout suits me,"”)
(“Passepartout . . . me”)
D lines 41–42(“"You are well recommended to me; I hear a
good report of you. ”)
(“You are . . . you”)
QUESTION 8 OF 10
At the end of the passage, the discussion about the time suggests that Mr. Fogg’s attitude towards his new employee will be
A strict and harshly unforgiving.
B exacting but initially lenient.
C pleasant and constantly relaxed.
D annoyed but frequently fatherly.
QUESTION 9 OF 10
Which choice provides the best evidence for the answer to the previous question?
A line 49(“"You are too slow," said Mr. Fogg.”)
(“You . . . Fogg”)
B line 50(“"Pardon me, monsieur, it is impossible—"”)
(“Pardon . . . impossible”)
C line 51(“"You are four minutes too slow. ”)
(“You . . . slow”)
D lines 51–52(“No matter; it's enough to mention the error.”)
(“No . . . error”)
QUESTION 10 OF 10
In the ?nal two paragraphs (lines 55–61(“Phileas Fogg got up, took his hat in his left hand, put it on his head with an automatic motion, and went off without a word.”)), the description of Mr. Fogg’s departure mainly serves to
A show that Passepartout already has full control over
Fogg’s household.
B demonstrate Fogg’s rudeness towards anyone of a lower
class.
C highlight the plight of the previous servant.
D emphasize the abrupt decision Fogg has made to hire
Passepartout.
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ANSWER KEY
Exercise1Exercise2Exercise3Exercise4Exercise5
1C1A1D1B1A
2A2C2A2C2A
3C3A3D3D3C
4B4B4B4B4B
5D5D5A5B5D
6B6D6D6A6A
7A7A7C7B7A
8B8A8C8A8B
9A9D9B9C9D
10C10C10D10D10D
11A11C11A11A
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Reading Practices for the Redesigned SAT 1.2
Literature Level 3
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Exercise 1
This passage is excerpted from Charlotte Bronte, Villette. Originally published in 1853. In this chapter, the narrator and her host, Mrs. Bretton, are trying to occupy a young girl, Paulina, who is staying with them.
One afternoon, Mrs. Bretton, coaxing [Paulina] from her usual station in a corner, had lifted her into the window-seat, and, by way of occupying her attention, told her to watch the passengers and count how many ladies should go down the street in a given time. She had sat listlessly, hardly looking, and not counting, when—my eye being ?xed on hers—I witnessed in its iris and pupil a startling trans?guration. These sudden, dangerous natures—sensitive as they are called—offer many a curious spectacle to those whom a cooler temperament has secured from participation in their angular vagaries. The ?xed and heavy gaze swum, trembled, then glittered in ?re; the small, overcast brow cleared; the trivial and dejected features lit up; the sad countenance vanished, and in its place appeared a sudden eagerness, an intense expectancy. "It is!" were her words.
Like a bird or a shaft, or any other swift thing, she was gone from the room. How she got the house-door open I cannot tell; probably it might be ajar; perhaps Warren was in the way and obeyed her behest, which would be impetuous enough. I—watching calmly from the window—saw her, in her black frock and tiny braided apron (to pinafores she had an antipathy), dart half the length of the street; and, as I was on the point of turning, and quietly announcing to Mrs. Bretton that the child was run out mad, and ought instantly to be pursued, I saw her caught up, and rapt at once from my cool observation, and from the wondering stare of the passengers. A gentleman had done this good turn, and now, covering her with his cloak, advanced to restore her to the house whence he had seen her issue.
I concluded he would leave her in a servant's charge and withdraw; but he entered: having tarried a little while below, he came up-stairs.
His reception immediately explained that he was known to Mrs. Bretton. She recognised him; she greeted him, and yet she was ?uttered, surprised, taken unawares. Her look and manner were even expostulatory; and in reply to these, rather than her words, he said,—"I could not help it, madam: I found it impossible to leave the country without seeing with my own eyes how she settled."
"But you will unsettle her."
"I hope not. And how is papa's little Polly?"
This question he addressed to Paulina, as he sat down and placed her gently on the ground before him.
"How is Polly's papa?" was the reply, as she leaned on his knee, and gazed up into his face.
It was not a noisy, not a wordy scene: for that I was thankful; but it was a scene of feeling too brimful, and which, because the cup did not foam up high or furiously over?ow, only oppressed one the more. On all occasions of vehement, unrestrained expansion, a sense of disdain or ridicule comes to the weary spectator's relief; whereas I have ever felt most burdensome that sort of sensibility which bends of its own will, a giant slave under the sway of good sense.
Mr. Home was a stern-featured—perhaps I should rather say, a hard-featured man: his forehead was knotty, and his cheekbones were marked and prominent. The character of his face was quite Scotch; but there was feeling in his eye, and emotion in his now agitated countenance. His northern accent in speaking harmonised with his physiognomy. He was at once proud-looking and homely-looking. He laid his hand on the child's uplifted head. She said—"Kiss Polly."
He kissed her. I wished she would utter some hysterical cry, so that I might get relief and be at ease. She made wonderfully little noise: she seemed to have got what she wanted—all she wanted, and to be in a trance of content. Neither in mien nor in features was this creature like her sire, and yet she was of his strain: her mind had been ?lled from his, as the cup from the ?agon.
QUESTION 1 OF 11
Over the course of the passage, the main focus shifts from
A a critique of the treatment of children to a depiction of a
particular child’s situation.
B observations of a character’s mental state to a domestic
reunion.
C the opinions stated by one character to the opposing
views asserted by another.
D the description of a character’s past to a prediction about
the character’s future.
QUESTION 2 OF 11
In the passage, the narrator characterizes Paulina as someone who goes from
A dissatis?ed to content.
B confused to understanding.
C angry to experiencing catharsis.
D contented to ecstatic.
QUESTION 3 OF 11
In the ?rst paragraph, the words “swum,” “trembled,” and “glittered” primarily serve to
A describe the atmosphere Mr. Home’s presence creates in
the room.
B reveal that Paulina has become upset by what she has
seen.
C emphasize Paulina’s excitement at what she has seen.
D characterize the effect Paulina’s boredom has had on her
appearance.
QUESTION 4 OF 11
According to the passage, Paulina cries, “It is!” (line 15 (“"It is!"”)) because
A she is trying to entertain herself.
Line 5
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