hitherto said very little, was, in reality, one of the handsomest
young fellows in the world. His face, besides being the picture of health,
had in it the most apparent marks of sweetness and good-nature.
These qualities were indeed so characteristical in his counte- (5)
nance, that, while the spirit and sensibility in his eyes, though
they must have been perceived by an accurate observer, might
have escaped the notice of the less discerning, so strongly was
this good-nature painted in his look, that it was remarked by
almost every one who saw him. (10)
plexion that his face had a delicacy in it almost inexpressible, and
which might have given him an air rather too effeminate, had it
not been joined to a most masculine person and mien: which latter
had as much in them of the Hercules as the former had of the (15)
Adonis. He was besides active, genteel, gay and good-humoured,
and had a flow of animal spirits which enlivened every conver-
sation where he was present.
which all centered in our hero, and considers at the same (20)
the fresh obligations which Mrs. Waters had to him, it will be a
mark more of prudery than candour to entertain a bad opinion of
her because she conceived a very good opinion of him.
But, whatever censures may be passed upon her, it is my busi-
ness to relate matters of fact with veracity. Mrs. Waters had, in (25)
truth, not only a good opinion of our hero, but a very great affec-
tion for him. To speak out boldly at once, she was in love, according
to the present universally received sense of that phrase, by which
love is applied indiscriminately to the desirable objects of all our
passions, appetites, and senses, and is understood to be that pref- (30)
erence which we give to one kind of food rather than to another.
one and the same in all cases, its operations, however, must be
allowed to be different; for, how much soever we may be in love
with an excellent sirloin of beef, or bottle of Burgundy; with a (35)
damask rose, or Cremona fiddle; yet do we never smile, nor ogle,
nor dress, nor flatter, nor endeavour by any other arts or tricks
to gain the affection of the said beef, etc. Sigh indeed we some-
times may; but it is generally in the absence, not in the presence,
of the beloved object.... (40)
sons of the same species, but of different sexes. Here we are no
sooner in love than it becomes our principal care to engage the
affection of the object beloved. For what other purpose, indeed,
are our youth instructed in all of the arts of rendering themselves (45)
agreeable? If it was not with a view to this love, I question whether
any of those trades which deal in setting off and adorning the
human person would procure a livelihood. Nay, those great po-
lishers of our manners, who are by some thought to teach what
principally distinguishes us from the brute creation, even danc- (50)
ing-masters themselves, might possibly find no place in society.
In short, all the graces which young ladies and young gentlemen
too learn from others, and the many improvements which, by the
help of a looking-glass, they add of their own, are in reality those
very spicula et faces amoris* so often mentioned by Ovid; or, as (55)
they are sometimes called in our own language, the whole artil-
lery of love.
* The spears and flames of love
(A) It stresses the variety of Mr. Jones's personal attributes.
(B) It implies that Mr. Jones is a less complicated personality
than the speaker suggests.
(C) It disguises the prominence of Mr. Jones's sensitive na-
ture and emphasizes his less readily discerned traits.
(D) It reflects the failure of some observers to recognize Mr.
Jones's spirit and sensibility.
(E) It belies the straightforward assertion made in the pre-
2. In context, the word "sensibility" (line 6) is best interpreted to mean
3. The first two paragraphs indicate that the speaker assumes
4. The shift in the speaker's rhetorical stance from the first
5. The word "former" in line 15 refers to
6. The speaker's allusion to Hercules and Adonis (lines 15-16)
7. The use of the phrase "it will be" in line 21 indicates that the
8. The style of the third paragraph differs from that of the first
9. In the fourth paragraph, the speaker establishes the predom-
10. The speaker's attitude toward "dancing-masters" (lines 50-
11. The passage indicates that the speaker believes which of the
12. The final metaphors of the last paragraph (lines 5-57) sug-
13. The speaker's tone in the passage can best be described as
September rain falls on the house.
She thinks that her equinoctial tears
It's time for tea now; but the child
on its string. Birdlike, the almanac
It was to be, says the Marvel Stove. (25)
But secretly, while the grandmother
Time to plant tears, says the almanac.
* Brand name of a wood- or coal-burning stove
15. In line 10, "known to" is best interpreted as
16.In line 19, "Birdlike" describes the
17. Between lines 24 and 25 and between lines 32 and 33, there
18. The child's attitude is best described as one of
19. All of the following appear to shed tears or be filled with tears
20. The grandmother and the child in the poem are portrayed
21. Throughout the poem, the imagery suggests that
22. Which of the following literary devices most significantly
23. The poet's attitude toward the characters in the poem is best
the North of England: they lie very thick on the hills; every parish
has one or more of them; they are young enough to be very active,
Line and ought to be doing a great deal of good. But not of late years
are we about to speak. We are going back to the beginning of this (5)
century: late years-present years-are dusty, sunburnt, hot,
arid. We will evade the noon-forget it in siesta, pass the mid-day
in slumber-and dream of dawn.
preparing for you, reader, you never were more mistaken. Do you (10)
anticipate sentiment, and poetry, and reverie? Do you expect pas-
sion, and stimulus, and melodrama? Calm your expectations; re-
duce them to a lowly standard. Something real, cool, and solid lies
before you; something unromantic as Monday morning, when all
who have work wake with the consciousness that they must rise (15)
and betake themselves thereto. It is not positively affirmed that
you shall not have a taste of the exciting-perhaps towards the
middle and close of the meal-but it is resolved that the first dish
set upon the table shall be one that a Catholic-ay, even an Anglo-
Catholic-might eat on Good Friday in Passion Week. It shall be (20)
cold lentils and vinegar without oil; it shall be unleavened bread
with bitter herbs, and no roast lamb.
upon the North of England; but at that time that affluent rain(25)
had not descended. Curates were scarce then; there was no Pas-
toral Aid, no Additional Curates' Society to stretch a helping
hand to worn-out old rectors and incumbents, and give them the
wherewithal to pay a vigorous young colleague from Oxford or
Cambridge. The present successors of the Apostles, disciples of
Dr. Pusey and tools of the Propaganda, were at that time being (30)
hatched under cradle-blankets or undergoing regeneration by
nursery-baptism in wash-hand basins. You could not have guessed
by looking at any one of them that the Italian-ironed double frills
of its net-cap surrounded the brows of a pre-ordained, specially
sanctified successor of St. Paul, St. Peter, or St. John; nor could (35)
you have foreseen in the folds of its long nightgown the white
surplice in which it was hereafter cruelly to exercise the souls of
its parishioners, and strangely to nonplus its old-fashioned vicar
by flourishing aloft in a pulpit the shirt-like raiment which had
never before waved higher than the reading-desk. (40)
the precious plant was rare, but it might be found. A certain favored
district in the West Riding of Yorkshire could boast three rods of
Aaron blossoming within a circuit of twenty miles. You shall see
them, reader. Step into this neat garden-house on the skirts of (45)
Whinbury, walk forward into the little parlor-there they are at
dinner. Allow me to introduce them to you: Mr. Donne, curate of
Whinbury; Mr. Malone, curate of Briarfield; Mr. Sweeting, curate
of Nunnely. These are Mr. Donne's lodgings, being the habitation
of one John Gale, a small clothier. Mr. Donne has kindly invited (50)
his brethren to regale with him. You and I will join the party, see
what is to be seen, and hear what is to be heard. At present,
however, they are only eating, and while they eat we will talk
on one another is to
(A) establish the eminence of the curates
(B) create a precise narrative setting
(C) establish an appropriately solemn tone
(D) emphasize the sense of abundance being described
(E) lull the reader into an impressionable frame of mind
25. The phrase "ought to be doing" in line 4 does which of the
26. The word "noon" (line 7) refers most directly to the
27. The speaker characterizes a "romance" (line 9) as all of the
28. The expectation referred to in lines 9-12 is reinforced most
29. From the statement "It is not positively affirmed that you
30. In the context of the passage, the phrase "cold lentils and
31. The speaker implies in the second paragraph that the
32. The phrases "hatched under cradle-blankets" and "under-
33. Which of the following aspects of the "disciples of Dr. Pusey"
34. The description of a curate in lines 32-40 has the primary
35.The phrase "rods of Aaron" (lines 43-4) refers
36. The passage as a whole introduces contrasts between all
Elected Silence, sing to me
Shape nothing, lips; be lovely-dumb: (5)
Be shelled, eyes, with double dark
Palate, the hutch of tasty lust,
Nostrils, your careless breath that spend
O feel-of-primrose hands, O feet
ruck and reel: multitude and commotion (25)
the following EXCEPT
(A) capitalizing the "5"
(B) alluding to it throughout the poem
(C) describing it as elected
(D) imparting to it human qualities
(E) placing it at the beginning of the poem
38. In the first stanza, the speaker makes use of paradox by doing
39. The reference to "curfew" (line 6) indirectly establishes the
40. Which of the following best conveys the meaning of the
41. Which of the following best paraphrases the meaning
42. In line 13, the word "hutch" suggests the
43. The verb phrase "must be" (line 15) serves primarily to
44. The words "stir" and "keep" (line 18) convey which
45. What is the subject of "provide" (line 27)?
46. The speaker metaphorically likens himself to a
autobiographical poem The Prelude, the speaker encounters un-
familiar aspects of the natural world. Write an essay in which you
trace the speaker's changing responses to his experience and
explain how they are conveyed by the poem's diction, imagery,
which you discuss how such elements as language, imagery,
structure, and point of view convey meaning in the poem.
"The Centaur" (A creature in Greek mythology that had the
The summer that I was ten--
have been a long one then--
which was a willow grove
But when, with my brother's jack-knife, (10)
and peeled him slick and clean
around his head for a rein,
trot along in the lovely dust
his feet to swift half-moons.
was the pommel and yet the poll (25)
yet they were shaped like a horse.
My forelock swung in my eyes,
stopped and raised my knees,
and swished through the dust again.
spanked my own behind. (40)
the wind twanged in my mane,
quiet, negligent riding,
At a walk we drew up to the porch.
and entered the dusky hall.
Where have you been? said my mother. (55)
What's that in your pocket? she said.
Go tie back your hair, said my mother,
"Ogun" (The Yoruba and Afro-Caribbean creator-god)
My uncle made chairs, tables, balanced doors on, dug out
with plane and quick sandpaper until
The knuckles of his hands were sil-
tened out with blast of heavy hammer. He was knock-knee'd,
flooring of his little shop where canefield mulemen and a fleet
There was no shock of wood, no beam
When shaping squares for locks, a key hole
of his humpbacked chisel. Cold
window frames, the intersecting x of fold-
trellises, the donkey
But he was poor and most days he was hungry.
tops, spine-curving chairs made up of tubes, with hollow
thin beds, stretched not on boards, but blue high tensioned cables,
And yet he had a block of wood that would have baffled them.
explored its knotted hurts, cutting his way
how it had swelled and shivered, breathing air,
its contoured grain still tuned to roots and water.
green lizard faces gulped, grey memories with moth
liquid tendrils leaked among the flowers
came stomping up the trunks. And as he worked within his shattered
eyes, slack anciently everted lips,
and woodworm, dry cistern mouth, cracked
enduring jaw; lost pain, lost iron;
lorry: kind of truck
--E. K. Hrathwaite
Then write a well-organized essay in which you
analyze the blend of humor, pathos, and the grotesque
in the story.
The last time I saw my father was in Grand Central Station. I
It was still early, and the place was empty. The bartender was
quarreling with a delivery boy, and there was one very old waiter (25)
in a red coat down by the kitchen door. We sat down, and my father
hailed the waiter in a loud voice. "Kelluer!" he shouted. "Garcon!
Cameriere! You!" His boisterousness in the empty restaurant
seemed out of place. "Could we have a little service here!" he
shouted. "Chop-chop." Then he clapped his hands. This caught (30)
the waiter's attention, and he shuffled over to our table. "Were
you clapping your hands at me?" he asked. "Calm down, calm
down, sommelier," my father said. "If it isn't too much to ask of
you-if it wouldn't be too much above and beyond the call of duty,
we would like a couple of Beefeater Gibsons." (35)
whistle that is audible only to the ears of old waiters. Now, take
out your little pad and your little pencil and see if you can get
this straight: two Beefeater Gibsons. Repeat after me: two Beef- (40)
I have ever heard. Come on, Charlie, let's get the hell out of here." (45)
was not so boisterous this time. Our drinks came, and he cross-
questioned me about the baseball season. He then struck the edge
of his empty glass with his knife and began shouting again. "Gar-
con! Kellner! Cameriere! You! Could we trouble you to bring us (50)
two more of the same."
another drink." (55)
very interesting news for you. This doesn't happen to be the only
restaurant in New York. They've opened another on the corner.
Come on, Charlie."
another. Here the waiters wore pink jackets like hunting coats,
and there was a lot of horse tack on the walls. We sat down, and
my father began to shout again. "Master of the hounds! Tallyhoo
and all that sort of thing. We'd like a little something in the way
of a stirrup cup. Namely, two Bibson Geefeaters." (65)
"I want two Beefeater Gibsons, and make it snappy. Things have
changed in jolly old England. So my friend the duke tells me. Let's
see what England can produce in the way of a cocktail." (70)
an impudent domestic. Come on, Charlie."
father said. "Per favore, possiamo avere due cocktail americani,
forti,forti. Molto gin, poco vermut."
you know damned well you do. Vogliamo due cocktail americarn.
to our table and said, "I'm sorry, sir, but this table is reserved." (85)
Is that it? Well, the hell with you. Vada all'inferno. Let's go, Charlie."
his arm around me and pressed me against him. "I'll walk you
back to the station. If there had only been time to go up to my
good enough to favor me with one of your God-damned, no-good,
ten-cent afternoon papers?" The clerk turned away from him and (100)
stared at a magazine cover. "Is it asking too much for you to sell
me one of your disgusting specimens of yellow journalism?."
I want to get a rise out of this chap." (105)
my train, and that was the last time I saw my father.
a character, often a friend or relative of the hero or heroine, whose
role is to be present when the hero or heroine needs a sympathetic
listener to confide in. Frequently the result is, as Henry James
remarked, that the confidant or confidante can be as much "the
reader's friend as the protagonist's." However, the author some-
times uses this character for other purposes as well.
nized literary merit and write an essay in which you discuss the
various ways this character functions in the work. You may write
your essay on one of the following novels or plays or on another
of comparable quality. Do not write on a poem or short story.
awakens "thoughtful laughter" in the reader. Write an essay in
which you show why this laughter is "thoughtful" and how it
contributes to the meaning of the work.
authors or another author of comparable merit.
Aristophanes-----Moliere-----Margaret Atwood-----Vladimir Nabokov
most significant events are mental or psychological; for example,
awakenings, discoveries, changes in consciousness. In a well-
organized essay, describe how the author manages to give these
internal events the sense of excitement, suspense, and climax usually
associated with external action. Do not merely summarize the plot.
comparable quality that is appropriate to the question.
Baldwin, Go Tell It on the Mountain
14-D, 15-B, 16-c, 17-B, 18-c, 19-A, 20-A, 21-A, 22-D, 23-A, 24-D,
25-c, 26-B, 27-E, 28-E, 29-B, 30-B, 31-B, 32-c, 33-B, 34-D, 35-A,
36-E, 37-B, 38-B, 39-B, 40-c, 41-A, 42-A, 43-B, 44-c, 45-A, 46-B