APENGLIT Practice Test Review

Passage 5: The description of Phillotson throughout the passage has the primary effect of A. creating doubt about the man's personal integrity B. alerting readers to several problems typically faced by schoolmasters C. reflecting the intensity of the speaker's admiration for dedicated schoolmasters D. portraying him as a conscientious schoolmaster with a human frailty E. revealing Phillotson's fanaticism about making his school a first-rate institution

**D. portraying him as a conscientious schoolmaster with a human frailty - passage shows him doing his job but shows more human side as develops feelings

Passage 5: Between the first and second sentences of the passage there is a shift from A. a tone of humility to a tone of pride B. melodrama to exposition C. inner thoughts to physical action D. present events to recalled events E. speculation to reality

**D. present events to recalled events - except for first paragraph, events focused on are recalled

Passage 4: Which two lines come closest to stating the same idea? A. Lines 1 and 10 B. Lines 1 and 21 C. Lines 3 and 9 D. Lines 3 and 14 E. Lines 31 and 33

B. Lines 1 and 21 - Line 1 calls church to ring bells and mourn, Line 21 asks church to hold service for dead

Passage 1: In context, the word "arrestingly" (line 9) is best interpreted to mean A. attractively B. strikingly C. worthy of attention D. hard to describe E. out of style

B. strikingly - clause "it is this that catches attention" = arrestingly defined as strikingly

Passage 3: The last paragraph of the passage (lines 70-84) indicates that the speaker believes which of the following to be true of Amory? A. Amory is conscience-stricken by the depth of his negative attitude toward poor people. B. Amory's ambition is to write books and stories about the poor. C. Amory is not bothered by his own prejudices and misanthropic thoughts. D. Until recently, Amory has led a sheltered life. E. Amory aims to be rich and well-dressed some day.

C. Amory is not bothered by his own prejudices and misanthropic thoughts - recognizes his crazy views but unwilling to change them

Passage 2: Which of the following describes the primary purpose of the simile "The past fades like newsprint in the sun" (line 6)? A. To comment on the insignificance of the news published every day B. To create a poetic balance with images of rain earlier in the poem C. To illustrate metaphorically the transitory nature of memory D. To suggest that the speaker is of a certain advanced age E. To indicate the speaker's attitude toward office work

C. To illustrate metaphorically the transitory nature of memory - echoes question in line 1

The narrator's tone in the passage can best be described as A. frivolous B. self-centered C. detached D. overconfident E. critical

C. detached - reports amory's feelings without bias

Passage 2: In line 19, "lost but not lost" is meant to imply the speaker's feeling of A. alienation B. panic about returning home C. going around in circles D. being lost in thought but not in body E. knowing where she is but not why

D. being lost in thought but not in body

Passage 3: The effect of the funeral wreath on the subway passengers (lines 52-56) might best be characterized as an example of A. a paradox B. whimsy C. hyperbole D. irony E. synecdoche

D. irony - fresh flowers contrast death

Passage 3: As described in the passage, Amory's distaste for the city is based primarily on its A. poverty-stricken neighborhoods B. oppressive crowds C. bleak appearance D. noise pollution E. unsanitary conditions

E. unsanitary conditions - imagery emphasizes hatred of unsanitary

Passage 4: Which of the following events most likely preceded the writing of the poem? A. The speaker's lover passed away. B. A mass was held at the church. C. The speaker was cast aside by his lover. D. The speaker had a dispute with his neighbors. E. The speaker attended a graveside funeral service.

C. The speaker was cast aside by his lover - "love is dead" = anguish towards woman he loved

Passage 1: The narrator's use of the phrase "private distance of their own" (lines 7-8) does which of the following? A. It confirms that the man and woman want to be left alone. B. It suggests that the couple harbors a dark secret of some kind. C. It raises suspicions about the couple's deteriorating mental condition. D. It implies that the couple leads a boring life. E. It heightens the intrigue surrounding the couple.

E. It heightens the intrigue surrounding the couple - "private distance of their own"=mystery/curiosity=intrigue

Which of the following best describes the effect of the structure of line 24? A. It undercuts the rhythm used throughout the poem. B. It suggests that the speaker intends to quit her job. C. It comments on the futility of escaping from the circumstances of one's life. D. It illustrates the speaker's sudden change of heart. E. It signifies the speaker's abrupt return to reality.

E. It signifies the speaker's abrupt return to reality - terse phrases are jarring

Passage 3

New York seemed not so much awakening as turning over in its bed. Pallid men rushed by, pinching together their coat-collars; a great swarm of tired, magpie girls from a 05department-store crowded along with shrieks of strident laughter, three to an umbrella; a squad of marching policemen passed, already miraculously protected by oilskin capes. The rain gave Amory a feeling of detachment, 10and the numerous unpleasant aspects of city life without money occurred to him in threatening procession. There was the ghastly, stinking crush of the subway—the car cards thrusting themselves at one, leering out like 15dull bores who grab your arm with another story; the querulous worry as to whether some one isn't leaning on you; a man deciding not to give his seat to a woman, hating her for it; the woman hating him for not doing it; 20at worst a squalid phantasmagoria of breath, and old cloth on human bodies and the smells of the food men ate—at best just people—too hot or too cold, tired, worried. He pictured the rooms where these people 25lived—where the patterns of the blistered wall-papers were heavy reiterated sunflowers on green and yellow backgrounds, where there were tin bathtubs and gloomy hallways and verdureless, unnamable spaces in back 30of the buildings; where even love dressed as seduction—a sordid murder around the corner, illicit motherhood in the flat above. And always there was the economical stuffiness of indoor winter, and the long summers, nightmares 35of perspiration between sticky enveloping walls . . . dirty restaurants where careless, tired people helped themselves to sugar with their own used coffee-spoons, leaving hard brown deposits in the bowl. 40It was not so bad where there were only men or else only women; it was when they were vilely herded that it all seemed so rotten. It was some shame that women gave off at having men see them tired and poor—it 45was some disgust that men had for women who were tired and poor. It was dirtier than any battle-field he had seen, harder to contemplate than any actual hardship moulded of mire and sweat and danger, it was an atmosphere 50wherein birth and marriage and death were loathsome, secret things. He remembered one day in the subway when a delivery boy had brought in a great funeral wreath of fresh flowers, how the smell 55of it had suddenly cleared the air and given every one in the car a momentary glow. "I detest poor people," thought Amory suddenly. "I hate them for being poor. Poverty may have been beautiful once, but it's rotten 60now. It's the ugliest thing in the world. It's essentially cleaner to be corrupt and rich than it is to be innocent and poor." He seemed to see again a figure whose significance had once impressed him—a 65well-dressed young man gazing from a club window on Fifth Avenue and saying something to his companion with a look of utter disgust. Probably, thought Amory, what he said was: "My God! Aren't people horrible!" 70Never before in his life had Amory considered poor people. He thought cynically how completely he was lacking in all human sympathy. O. Henry had found in these people romance, pathos, love, hate—Amory saw 75only coarseness, physical filth, and stupidity. He made no self-accusations: never any more did he reproach himself for feelings that were natural and sincere. He accepted all his reactions as a part of him, unchangeable, 80unmoral. This problem of poverty transformed, magnified, attached to some grander, more dignified attitude might some day even be his problem; at present it roused only his profound distaste.

Passage 1

The very old couple, of whom everyone at the beach is so highly aware, seem themselves to notice no one else at all. Tall and thin, she almost as tall as he, they are probably somewhere 05in their eighties. They walk rather slowly, and can be seen, from time to time, to stop and rest, staring out to sea, or to some private distance of their own. Their postures, always, are arrestingly, regally erect; it is this that catches 10so much attention, as well as their general air of distinction, and of what is either disdain or a total lack of interest in other people. Their clothes are the whitest at the beach; in the ferocious Mexican sun of that resort 15they both wear large hats, hers lacy, his a classic panama. They look like movie stars, or even royalty, and for all anyone knows they are, deposed monarchs from one of the smaller European 20countries, world-wanderers. Because there is not much to do at that resort, almost nothing but walking and swimming, reading or whatever social activities one can devise, most people stay for fairly short 25periods of time. Also, it is relatively expensive. The Chicago people, who have come as a group, will be there for exactly ten days. The couple who have the room just next door to that of the distinguished couple will be 30there for only a week—a week literally stolen, since he is married to someone else, in Santa Barbara, and is supposed to be at a sales conference, in Puerto Rico. But the old people seem to have been there 35forever, and the others imagine that they will stay on and on, at least for the length of the winter. And while everyone else can be seen, from time to time, to wonder what to do next—the 40Chicago people, apparently committed to unity of action, were heard arguing in the dining room over whether, or when, to rent a boat for deep-sea fishing—the two old people have a clear, unwavering schedule of their own. After 45breakfast, to which they come quite late, as they do to all meals, they sit out on their small porch for a couple of hours. The girl in the room next door, who is named Amanda Evers, is passionately curious about them, and she tries to look 50through the filagree1 of concrete that separates the two porches. But she discovers nothing. (She is in fact too curious about too many people; her lover, Richard Paxon, has told her so. Curiosity contributes to the general confusion 55of her life.) The old man reads his newspapers, a Mexico City News that he has delivered to his table each morning, at breakfast, and sometimes he seems to be writing letters—or perhaps he keeps a journal? The woman does not 60read the paper; she seems to be doing nothing at all—a thing Amanda, who is restlessly energetic, cannot imagine. (Amanda manages a travel agency, in Santa Cruz, California; she often considers other careers.) 65The arrival of the elderly couple, down at the beach, at almost precisely noon each day, is much noticed; it is when they look, perhaps, most splendid. In trim dark bathing suits, over which they both wear white shirts, 70in their hats and large dark glasses, advancing on their ancient legs, they are as elegant as tropical birds—and a striking contrast to everyone else on the beach, many of whom wear bright colors. One such woman in the 75Chicago group has a pea-green caftan2 that literally hurts Amanda's eyes. The old people sit each day under the same small thatched shelter, a little apart from the others, at the end of the line. After a while they 80will rise and begin one of their long, deliberate walks, the length of the beach and back. Then, returned to their shelter, in a slow and careful way they divest themselves of the shirts, the hats and glasses; they walk down to the edge of 85the water, and slowly, majestically, they enter the lapping small green waves. After a not quite total immersion, they return to the shelter, to rest. Even in such apparent repose, however, they both have a look of attentiveness. They 90seem highly conscious of each moment, and very likely they are.

Passage 2: Which of the following best explains why the speaker chose this particular "country" as her destination? A. She used to live and work there. B. Someone who had gone there recommended it to her. C. She is fluent in the language spoken there. D. The choice was made intuitively, without thinking about it. E. Friends who live there invited her to visit.

**A. She used to live and work there - third stanza provides evidence of life and work there

Passage 2: In line 1, the speaker is doing which of the following? A. Introducing an ambiguity that lingers throughout the poem B. Creating suspense that builds to a climax at the end of the poem C. Maintaining her distance from the events described in the poem D. Establishing that the speaker is not the same person whose experiences are recounted in the poem E. Asking a hypothetical question

A. Introducing an ambiguity that lingers throughout the poem - presents questioning thoughts, almost vague descriptions but still specific

Passage 1: The narrator's attitude toward the old couple is chiefly one of A. tenderness and affection B. admiration and wonder C. hidden envy D. exaggerated praise E. disguised contempt

B. admiration and wonder - observations made at a distance=mystery/wonder; contrast behavior with positive language=admiration

Passage 2: In context, "lost" (line 14) means A. misplaced B. aimless C. forgotten D. deprived E. bewildered

C. forgotten - recognizes painting she had forgotten (emphasized by "of course!")

Passage 4: The poem is best described as A. a lyric on the death of love B. a polemic on women's fickleness C. an allegory about a man's self-discovery D. a ballad about love's hardships E. an ironic ode to a heartless woman

**A. a lyric on the death of love - lyric=highly personal expression of emotion

Passage 2: In lines 7-23, the speaker's emotional state can best be described as A. refreshed and pleased B. relieved and self-satisfied C. excited and childish D. nostalgic and energized E. cautious and amused

**A. refreshed and pleased - narrator is revived and refreshed at thought of being away from desk

Passage 1: Amanda most likely serves as the narrator's source of information based on all of the following facts EXCEPT A. the resort is expensive (lines 25-26) B. an adulterous affair is going on in the room next to that of the old couple (lines 28-33) C. Amanda has been accused of being too nosy (lines 52-55) D. Amanda works as a travel agent in California (line 64) E. The caftan of one of the other guests hurts Amanda's eyes (lines 75-76)

**A. the resort is expensive (lines 25-26) - nature of rest of comments hints Amanda has talked to narrator

Passage 4: The emotional effect of the first stanza (lines 1-10) is achieved mainly by A. use of hyperbole B. use of alliteration C. use of a concluding couplet D. a long first line followed by a terse second line E. a metaphor comparing love with the plague

**A. use of hyperbole - "ALL love is dead" is an exaggeration

Passage 4: What feeling does the speaker convey in lines 11-12? A. Self-righteousness B. Isolation and resentment C. Wrath and guile D. Panic and terror E. Reverence and respect for God

**B. Isolation and resentment - he expects neighbors to have heard about his troubles but is upset and confused they don't mourn with him

Passage 4: Lines 37-40 imply all of the following about the speaker EXCEPT that he A. regrets reacting so hysterically B. is never likely to fall in love again C. recognizes that his love for the lady was flawed D. mistook uncontrollable passion for love E. hopes never to make the same mistake again

**B. is never likely to fall in love again - doesn't say he'll stop love but be more careful

Passage 4: The last four lines of stanzas 1, 2, and 3 can best be paraphrased as A. Lord, let other women be more grateful for my affection B. Lord, save me from ungrateful, irrational women C. Lord, spare men the emotional turmoil brought on by women D. Lord, why must women be so heartless? E. Lord, I am suffering; please don't let me fall in love again

**C. Lord, spare men the emotional turmoil brought on by women - "deliver" from "ungrateful fancy"=asking god to stop the pain for all men

Passage 4: Which images are most extensively used in the poem? A. Those pertinent to disorder and chaos B. Those relevant to male-female relationships C. Those alluding to death and dying D. Those relating to religious rituals E. Those concerning love and romance

**C. Those alluding to death and dying - everything relates to love and romance but always dark, death, dying imagery

Passage 1: The last two sentences of the passage ("Even . . . they are") suggest that the narrator A. thinks that the elderly man and woman are attempting to enjoy their lives to the fullest possible extent B. believes that the couple may soon be leaving the resort C. may doubt the authenticity of the couple's public image D. suspects that the couple may be anxious about maintaining their privacy E. assumes that wealthy people can never be fully at ease

**C. may doubt the authenticity of the couple's public image - last sentence suggests author may doubt authenticity of couple to be too well rehearsed

Passage 1: At the beginning of the passage (lines 1-20), the old couple are characterized mainly by the speaker's description of A. their age B. what others say about them C. their appearance D. their feelings E. their actions

**C. their appearance - descriptions of clothing, and presence created

Passage 5: The characteristic referred to in line 18—that Miss Bridehead was "quite as bright" as she'd been described—is reinforced most strongly by which of the following phrases? A. not exactly a novice (line 14) B. an apprentice who saves him half his labour (lines 20-21) C. A new emanation . . . seemed to surround her (lines 27-28) D. certainly was an excellent teacher (line 32) E. Perhaps she knew he was thinking of her thus (line 55)

**D. certainly was an excellent teacher (line 32) - only choice relating to intelligence

Passage 2: References to rain near the beginning of the poem (lines 2-3) and again at the end (line 24) do all of the following EXCEPT A. provide a contrast between England and the "other country" B. suggest the fleeting nature of the speaker's imaginary journey C. separate the daydream from reality D. emphasize that rain has an allegorical meaning E. reiterate that rain has served as a stimulus for the speaker's escape

**D. emphasize that rain has an allegorical meaning - references frame the poem, contrasting imagery separates daydream from reality and every choice except D b/c no hint of allegory

Passage 4: The most unconventional and idiosyncratic aspect of the poem is its A. rhymes B. meter and rhythm C. spelling D. syntax E. figurative language

**D. syntax - enigmatic sentence structure, elliptical constructions

The mood of the poem can best be described as A. cynical B. passionate C. enchanted D. visionary E. pedantic

**D. visionary - envisions land where narrator longs to be

Passage 4: One effect of lines 5-6 is to emphasize the speaker's sense of A. pity B. modesty C. regret D. loyalty E. powerlessness

**E. powerlessness - he feels his worth is considered "worthless" in face of his "lady's dismain"

Passage 1: The narrator of the passage can best be described as a person who A. takes pleasure in people-watching B. readily gives advice to others C. has been vacationing at the beach for many years D. considers wealth a status symbol E. gladly participates in the activities offered by the resort

A. takes pleasure in people-watching - passage devoted to observations of people at resort

The use of the phrase "some shame that women gave off" in line 43 indicates that Amory A. thinks that women want the approval of men more than they want the approval of other women B. believes that women are more emotional than men C. judges poor women more harshly than he judges poor men D. has met and talked with a number of women about their feelings regarding poverty E. fears poor women more than he fears poor men

A. thinks that women want the approval of men more than they want the approval of other women - "women feel less ashamed of poverty in presence of women than of men"

Passage 3: The contents of lines 80-84 suggest that this passage most probably precedes an account of A. how Amory changes his opinions about the poor B. Amory's efforts to become wealthy C. a turn of events in which Amory becomes friendly with poor people D. Amory's attempts to help society solve the problem of poverty E. circumstances that reinforce Amory's lack of human sympathy

A. how Amory changes his opinions about the poor - "at present" emphasizes poverty could someday be Amory's problem

Passage 3: Describing the rooms occupied by subway riders (lines 24-32), the narrator uses a series of parallel clauses primarily to A. intensify the wretched conditions in which the people live B. comment on Amory's moral superiority C. shock readers into a state of disbelief that such conditions actually exist D. justify Amory's attitude, stated in lines 75-76, that poor people are coarse and stupid E. suggest the need to eliminate poverty

A. intensify the wretched conditions in which the people live - details piled on top of another=emphasizes bad conditions

Passage 1: In context, the narrator's simile "as elegant as tropical birds" (lines 71-72) serves primarily to A. reiterate the couple's distinctive and distinguished appearance B. provide fodder for gossip among the resort's other guests C. suggest the couple's exotic taste in clothing D. reinforce the idea stated earlier (line 17) that the couple look like movie stars E. emphasize how closely the man and woman resemble each other

A. reiterate the couple's distinctive and distinguished appearance - tropical birds bright, exotic, stand out

Passage 5: The verb "governing" (line 30) serves primarily to A. suggest that Sue maintains order and effectively presides over her class B. indicate that Sue is a strict and demanding teacher C. give readers an unfavorable impression of Sue's teaching style D. show that Sue possesses qualities at odds with those established in the previous paragraph E. reflect an attitude of ambivalence on the part of Phillotson

A. suggest that Sue maintains order and effectively presides over her class - "governing"=word associated with order, power

Passage 5: The speaker in the passage uses the rhetorical question in lines 18-21 primarily to A. support Phillotson's decision to keep Sue on his teaching staff B. provide evidence to win the approval of H.M. Inspector, referred to in line 10 C. suggest that Phillotson has grown tired of his job D. introduce an account of Sue's efficiency as a teacher E. indicate that Phillotson thinks his job of schoolmaster is no different from that of a factory foreman

A. support Phillotson's decision to keep Sue on his teaching staff - the question is meant to explain his rationale

Passage 5: The third paragraph (lines 33-46) provides evidence that the speaker believes which of the following about Phillotson? A. He takes great pleasure in instructing young teachers at the school. B. Although he abides by the rules of the school, he doesn't agree with them. C. He has a reputation of someone attracted to women. D. He believes in the equality of the sexes. E. Through his past efforts, the school enjoys a homely atmosphere.

B. Although he abides by the rules of the school, he doesn't agree with them - thinks presence of "respectable, elderly woman" is absurd

Passage 5: In context, the phrase "new emanation" (line 27) is meant to imply that A. the schoolmaster is an extremely perceptive person B. Phillotson appreciates Sue for more than her teaching ability C. Sue has become more sociable during her time at the school D. the teacher is very young—barely out of her teens E. the schoolmaster is concerned that Sue will be late for class

B. Phillotson appreciates Sue for more than her teaching ability - "emanation"=details left unsaid and his thoughts point to love

The "other country" referred to in lines 1 and 23 can best be described as A. a glamorous but isolated vacation spot on the ocean B. a small seacoast town in a warm climate C. a remote desert island in the tropics D. a ranch on a mountain overlooking the sea E. a beach resort popular with English-speaking tourists

B. a small seacoast town in a warm climate - seagulls, sea, etc

Passage 3: In context, the narrator's allusion to O. Henry (line 73) serves primarily to A. imply that O. Henry is some kind of hero to the impoverished residents of New York B. contrast two different sets of feelings about New York's poor people C. exaggerate the intensity of Amory's prejudices D. suggest that in the future Amory should adopt O. Henry as a role model E. convince readers that Amory is a social misfit

B. contrast two different sets of feelings about New York's poor people - mention juxtaposes and emphasize's Amory's lack of sympathy

Passage 2: The image of a "moon like an orange drawn by a child" (line 11) serves primarily to A. indicate that the speaker lacks sophisticated tastes B. emphasize the primitive, unspoiled character of the setting C. illustrate the depth of the speaker's imagination D. suggest the age of the boy serving drinks in the bar E. reflect the speaker's newfound frame of mind

B. emphasize the primitive, unspoiled character of the setting - innocent conception of world, simpler than reality there

Passage 2: Which of the following best paraphrases the meaning of "photographs/on the wrong side of your eyes" (lines 7-8)? A. photographs that are out of focus B. images that can only be remembered or imagined C. photographs that all look alike D. pictures that have been forgotten E. ghostly images

B. images that can only be remembered or imagined - images exist not in her eyes but in her head

Passage 3: The first paragraph differs from the remaining paragraphs in the passage in that A. it is metaphorical rather than realistic B. it consists mostly of the narrator's observations C. it includes details that only an omniscient narrator would know D. it is written from Amory's point of view E. it contains few visual images

B. it consists mostly of the narrator's observations - description of people on New York street

Passage 1: The shift in the narrator's rhetorical stance that occurs from the third paragraph (lines 17-20) to the next paragraph (lines 21-33) can best be described as one from A. generalized to specific B. speculative to factual C. meandering to interpretive D. enthusiastic to indifferent E. realistic to exaggerated

B. speculative to factual - narrator theorizes about couple and then provides facts about resort

Passage 5: From the statement "Phillotson was not really thinking of the arithmetic at all, but of her" (lines 52-53), the reader may infer that A. a theme dealing with youth and age has been introduced by the story's narrator B. subtle irony is an integral part of the story C. an element of romantic love may soon enter the story D. Phillotson thinks privately that arithmetic lessons are a waste of time E. Phillotson is determined to help Sue succeed as a teacher

C. an element of romantic love may soon enter the story - he is distracted by Sue which is uncharacteristic of him and last sentence implies he wonders if sue is interested in him.

Passage 1: The structure of the sentence in lines 38-44 does which of the following? A. It exaggerates the crankiness of the people from Chicago. B. It offers the narrator an opportunity to ridicule the Chicago group. C. It implies that old people are usually more set in their ways than young people. D. It emphasizes the contrast between the group from Chicago and the elderly couple. E. It uses a specific example to illustrate a general statement made in the previous paragraph (lines 34-37).

D. It emphasizes the contrast between the group from Chicago and the elderly couple - description of couple and chicago travellers in same sentence=contrast

Passage 1: The parenthetical comment in lines 52-55 can be considered ironical for which of the following reasons? A. The narrator has been spying on Amanda. B. The narrator has overheard Richard Paxon berating Amanda. C. Amanda herself is a subject of the narrator's curiosity. D. The narrator is no less curious about other people than Amanda. E. A sense of "general confusion" (line 54) also characterizes the narrator's life.

D. The narrator is no less curious about other people than Amanda - narrative comment is critical of Amanda (irony); no other answer choice supported by passage

Passage 5: In which of the following ways does the phrase "as if she assumed that" (line 50) function in the last paragraph? A. It reveals that Sue suspects Phillotson of harboring unprofessional thoughts about her. B. It is a sign of Sue's weakness in arithmetic. C. It indicates that Sue is trying to flirt with Phillotson. D. It ridicules Sue for being excessively naive. E. It suggests the degree of Sue's respect for Phillotson.

E. It suggests the degree of Sue's respect for Phillotson - assuming he can read her mind = more faith in him than normal

Passage 4: Which of the following marks a turning point in the speaker's tone? A. And Faith fair scorn doth gain (line 6) B. Weep, neighbors, weep! (line 11) C. His sole executor, blame (line 16) D. 'Her eyes were once his dart' (line 26) E. Love is not dead (line 32)

E. Love is not dead (line 32) - signals change from death imagery associated with love to abrupt contrast

Passage 3: Based on Amory's observations of New York, which of the following conditions does he NOT attribute to poverty? A. Crowds of vile people on the subway B. Seedy, foul-smelling living quarters C. Unsanitary eating places D. The scorn of those who are not poor E. People's sense of hopelessness about escaping poverty

E. People's sense of hopelessness about escaping poverty - A discussed in paragraph 2; B third paragraph; C end of third paragraph; D implied by incident observed

Passage 3: Amory's attitude toward poverty-stricken people might best be described as A. totally indifferent B. bitterly sarcastic C. genuinely unsettled D. mildly sympathetic E. utterly contemptuous

E. utterly contemptuous - "I detest poor people...I hate them for being poor"

Passage 5: The characteristics of Sue conveyed by the phrase "a light hat tossed on her head" (lines 25-26) are best described as A. impulsiveness and impatience B. distraction and absent-mindedness C. excitement and charisma D. recklessness and indifference E. youth and self-confidence

E. youth and self-confidence - "tossed" = free and easy = childlike = confidence

Passage 4

Ring out your bells, let mourning shows be spread: For Love is dead. All Love is dead, infected With plague of deep disdain; 05Worth, as nought worth, rejected, And Faith fair scorn doth gain. From so ungrateful fancy,1 From such female franzy,2 From them that use men thus, 10Good Lord, deliver us! Weep, neighbors, weep! do you not hear it said That Love is dead His death-bed, peacock's folly; His winding-sheet is shame; 15His will, false-seeming holy; His sole executor, blame. From so ungrateful fancy, From such a female franzy, From them that use men thus, 20Good Lord, deliver us! Let dirge3 be sung and trentrals4 rightly read, For Love is dead. Sir Wrong his tomb ordaineth5 My mistress Marble-heart, 25Which epitaph containeth, "Her eyes were once his dart." From so ungrateful fancy From such a female franzy, From them that use men thus, 30Good Lord, deliver us! Alas, I lie, rage hath this error bred; Love is not dead. Love is not dead, but sleepeth In her unmatchéd mind, 35Where she his counsel keepeth, Till due desert she find. Therefore from so vile fancy, To call such wit a franzy, Who Love can temper thus, 40Good Lord, deliver us!

Passage 2

The other country, is it anticipated or half-remembered? Its language is muffled by the rain which falls all afternoon one autumn in England, and in your mind you put aside your work and head for the airport 05with a credit card and a warm coat you will leave on the plane. The past fades like newsprint in the sun. You know people there. Their faces are photographs on the wrong side of your eyes. A beautiful boy in the bar on the harbour serves you a drink - what? - 10asks you if men could possibly land on the moon. A moon like an orange drawn by a child. No. Never. You watch it peel itself into the sea. Sleep. The rasp of carpentry wakes you. On the wall, a painting lost for thirty years renders the room yours. 15Of course. You go to your job, right at the old hotel, left, then left again. You love this job. Apt sounds mark the passing of the hours. Seagulls. Bells. A flute practising scales. You swap a coin for a fish on the way home. Then suddenly you are lost but not lost, dawdling 20on the blue bridge, watching six swans vanish under your feet. The certainty of place turns on the lights all over town, turns up the scent on the air. For a moment you are there, in the other country, knowing its name. And then a desk. A newspaper. A window. English rain.

Passage 5

The schoolmaster sat in his homely dwelling attached to the school, both being modern erections; and he looked across the way at the old house in which his teacher Sue had a lodging. The 05arrangement had been concluded very quickly. A pupil-teacher who was to have been transferred to Mr. Phillotson's school had failed him, and Sue had been taken as stop-gap. All such provisional arrangements as these could only last till the next 10annual visit of H.M. Inspector, whose approval was necessary to make them permanent. Having taught for some two years in London, though she had abandoned the vocation of late, Miss Bridehead was not exactly a novice, and 15Phillotson thought there would be no difficulty in retaining her services, which he already wished to do, though she had only been with him three or four weeks. He had found her quite as bright as Jude had described her; and what master-tradesman 20does not wish to keep an apprentice who saves him half his labour? It was a little over half-past eight o'clock in the morning and he was waiting to see her cross the road to the school, when he would follow. 25At twenty minutes to nine she did cross, a light hat tossed on her head; and he watched her as a curiosity. A new emanation, which had nothing to do with her skill as a teacher, seemed to surround her this morning. He went to the school 30also, and Sue remained governing her class at the other end of the room, all day under his eye. She certainly was an excellent teacher. It was part of his duty to give her private lessons in the evening, and some article in the 35Code made it necessary that a respectable, elderly woman should be present at these lessons when the teacher and the taught were of different sexes. Richard Phillotson thought of the absurdity of the regulation in this case, when 40he was old enough to be the girl's father; but he faithfully acted up to it; and sat down with her in a room where Mrs. Hawes, the widow at whose house Sue lodged, occupied herself with sewing. The regulation was, indeed, not easy to 45evade, for there was no other sitting-room in the dwelling. Sometimes as she figured—it was arithmetic that they were working at—she would involuntarily glance up with a little inquiring smile at him, 50as if she assumed that, being the master, he must perceive all that was passing in her brain, as right or wrong. Phillotson was not really thinking of the arithmetic at all, but of her, in a novel way which somehow seemed strange to him as preceptor. 55Perhaps she knew he was thinking of her thus.