Adapted from The Autobiography of John Adams (ed. 1856)

Not long after this, the three greatest measures of all were carried. Three committees were appointed, one for preparing a declaration of independence, another for reporting a plan of a treaty to be proposed to France, and a third to digest a system of articles of confederation to be proposed to the States. I was appointed on the committee of independence and on that for preparing the form of a treaty with France. On the committee of confederation Mr. Samuel Adams was appointed. The committee of independence were Thomas Jefferson, John Adams, Benjamin Franklin, Roger Sherman, and Robert R. Livingston. Mr. Jefferson had been now about a year a member of Congress, but had attended his duty in the house a very small part of the time, and, when there, had never spoken in public. During the whole time I sat with him in Congress, I never heard him utter three sentences together. It will naturally be inquired how it happened that he was appointed on a committee of such importance. There were more reasons than one. Mr. Jefferson had the reputation of a masterly pen; he had been chosen a delegate in Virginia, in consequence of a very handsome public paper which he had written for the House of Burgesses, which had given him the character of a fine writer. Another reason was, that Mr. Richard Henry Lee was not beloved by the most of his colleagues from Virginia, and Mr. Jefferson was set up to rival and supplant him. This could be done only by the pen, for Mr. Jefferson could stand no competition with him or any one else in elocution and public debate.

Which of the following words would best replace the word “stand” in the last sentence?

Adapted from The Autobiography of John Adams (ed. 1856)

Here I will interrupt the narration for a moment to observe that, from all I have read of the history of Greece and Rome, England and France, and all I have observed at home and abroad, articulate eloquence in public assemblies is not the surest road to fame or preferment, at least, unless it be used with caution, very rarely, and with great reserve. The examples of Washington, Franklin, and Jefferson is enough to show that silence and reserve in public is more efficacious than argumentation or oratory. A public speaker who inserts himself, or is urged by others, into the conduct of affairs, by daily exertions to justify his measures, and answer the objections of opponents, makes himself too familiar with the public and unavoidably makes himself enemies. Few persons can bear to be outdone in reasoning or declamation or wit or sarcasm or repartee or satire, and all these things that are very apt to grow out of public debate. In this way, in a course of years, a nation becomes full of a man’s enemies, or at least, of such as have been galled in some controversy and take a secret pleasure in assisting to humble and mortify him. So much for this digression. We will now return to our memoirs.

Which of the following would be an acceptable replacement for the underlined word “apt”?

Adapted from The Autobiography of John Adams (ed. 1856)

Here I will interrupt the narration for a moment to observe that, from all I have read of the history of Greece and Rome, England and France, and all I have observed at home and abroad, articulate eloquence in public assemblies is not the surest road to fame or preferment, at least, unless it be used with caution, very rarely, and with great reserve. The examples of Washington, Franklin, and Jefferson is enough to show that silence and reserve in public is more efficacious than argumentation or oratory. A public speaker who inserts himself, or is urged by others, into the conduct of affairs, by daily exertions to justify his measures, and answer the objections of opponents, makes himself too familiar with the public and unavoidably makes himself enemies. Few persons can bear to be outdone in reasoning or declamation or wit or sarcasm or repartee or satire, and all these things that are very apt to grow out of public debate. In this way, in a course of years, a nation becomes full of a man’s enemies, or at least, of such as have been galled in some controversy and take a secret pleasure in assisting to humble and mortify him. So much for this digression. We will now return to our memoirs.

What is an acceptable replacement for the underlined expression “in a course of years”?

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of [the novel] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the word choice that best fits the context of the underlined word preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of [the novel] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the word choice that best fits the context of the underlined word preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of [the novel] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the word choice that best fits the context of the underlined word preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of [the novel] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the answer that best corresponds to our contemporary usage of the underlined word preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

"Whomever (1) wins the game will play in the Megabowl," (2) Paul shouted, and Derek wasnt (3) sure how to respond.  He dint (4) particularly care for football generally, (5) or for the Megabowl specifically but (6) he did not want to upset his best friend, whom (7) was obviously excessively (8) excited about the news.  He took a deep breath then (9) he said  "That's wonderful news (10) Paul.  Where is the game be (11) held?"  Paul grinned and replied, "In Antarctica!"  Derek blinked.  "Since when are they having football games in Antarctica" he (12) asked.  Paul simply smiled and said, "There had to be some good to come out of global warming, right?"

Choose from the following four options the answer that best corrects the underlined mistake preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

"Whomever (1) wins the game will play in the Megabowl," (2) Paul shouted, and Derek wasnt (3) sure how to respond.  He dint (4) particularly care for football generally, (5) or for the Megabowl specifically but (6) he did not want to upset his best friend, whom (7) was obviously excessively (8) excited about the news.  He took a deep breath then (9) he said  "That's wonderful news (10) Paul.  Where is the game be (11) held?"  Paul grinned and replied, "In Antarctica!"  Derek blinked.  "Since when are they having football games in Antarctica" he (12) asked.  Paul simply smiled and said, "There had to be some good to come out of global warming, right?"

Choose from the following four options the answer that best corrects the underlined mistake preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

"Whomever (1) wins the game will play in the Megabowl," (2) Paul shouted, and Derek wasnt (3) sure how to respond.  He dint (4) particularly care for football generally, (5) or for the Megabowl specifically but (6) he did not want to upset his best friend, whom (7) was obviously excessively (8) excited about the news.  He took a deep breath then (9) he said  "That's wonderful news (10) Paul.  Where is the game be (11) held?"  Paul grinned and replied, "In Antarctica!"  Derek blinked.  "Since when are they having football games in Antarctica" he (12) asked.  Paul simply smiled and said, "There had to be some good to come out of global warming, right?"

Choose from the following four options the answer that best corrects the underlined mistake preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."