Adapted from Northanger Abbey by Jane Austen (1817)

The progress of the friendship between Catherine and Isabella was quick as its beginning had been warm, and they passed so rapidly through every gradation of increasing tenderness that there was shortly no fresh proof of it to be given to their friends or themselves. They called each other by their Christian name, were always arm in arm when they walked, pinned up each other’s train for the dance, and were not to be divided in the set; and if a rainy morning deprived them of other enjoyments, they were still resolute in meeting in defiance of wet and dirt, and shut themselves up, to read novels together. 

Yes, novels; for I will not adopt that ungenerous and impolitic custom so common with novel–writers, of degrading by their contemptuous censure the very performances, to the number of which they are themselves adding—joining with their greatest enemies in bestowing the harshest epithets on such works, and scarcely ever permitting them to be read by their own heroine, who, if she accidentally take up a novel, is sure to turn over its insipid pages with disgust. Alas! If the heroine of one novel be not patronized by the heroine of another, from whom can she expect protection and regard? I cannot approve of it. Let us leave it to the reviewers to abuse such effusions of fancy at their leisure, and over every new novel to talk in threadbare strains of the trash with which the press now groans. Let us not desert one another; we are an injured body. 

Although our productions have afforded more extensive and unaffected pleasure than those of any other literary corporation in the world, no species of composition has been so much decried. From pride, ignorance, or fashion, our foes are almost as many as our readers. And while the abilities of the nine-hundredth abridger of the History of England, or of the man who collects and publishes in a volume some dozen lines of Milton, Pope, and Prior, with a paper from the Spectator, and a chapter from Sterne, are eulogized by a thousand pens—there seems almost a general wish of decrying the capacity and undervaluing the labour of the novelist, and of slighting the performances which have only genius, wit, and taste to recommend them. “I am no novel-reader—I seldom look into novels—Do not imagine that I often read novels—It is really very well for a novel.” Such is the common cant. “And what are you reading, Miss—?” “Oh! It is only a novel!” replies the young lady, while she lays down her book with affected indifference, or momentary shame. “It is only Cecilia, or Camilla, or Belinda”; or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humor, are conveyed to the world in the best-chosen language. 

Now, had the same young lady been engaged with a volume of the Spectator, instead of such a work, how proudly would she have produced the book, and told its name; though the chances must be against her being occupied by any part of that voluminous publication, of which either the matter or manner would not disgust a young person of taste: the substance of its papers so often consisting in the statement of improbable circumstances, unnatural characters, and topics of conversation which no longer concern anyone living; and their language, too, frequently so coarse as to give no very favorable idea of the age that could endure it.

The first line of the second paragraph of the passage can be considered surprising because __________.

Adapted from “The McWilliamses and the Burglar Alarm” in The Mysterious Stranger and Other Stories by Mark Twain (1898; 1916)

The conversation drifted along from weather to crops, from crops to literature, from literature to scandal, from scandal to religion; then took a random jump, and landed on the subject of burglar alarms. And now for the first time Mr. McWilliams showed feeling. Whenever I perceive this sign on this man's dial, I comprehend it, and lapse into silence, and give him opportunity to unload his heart. Said he, with but ill-controlled emotion:

"I do not go one single cent on burglar alarms, Mr. Twain—not a single cent—and I will tell you why. When we were finishing our house, we found we had a little cash left over. I was for donating it to charity; but Mrs. McWilliams said no, let's have a burglar alarm. I agreed to this compromise. Whenever I want a thing, and Mrs. McWilliams wants another thing, and we decide upon the thing that Mrs. McWilliams wants—as we always do—she calls that a compromise. Very well: the man came up from New York and put in the alarm, and charged three hundred and twenty-five dollars for it, and said we could sleep without uneasiness now. So we did for awhile—say a month. Then one night we smelled smoke. I lit a candle, and started toward the stairs, and met a burglar coming out of a room with a basket of tinware, which he had mistaken for solid silver in the dark. He was smoking a pipe. I said, 'My friend, we do not allow smoking in this room.' He said he was a stranger, and could not be expected to know the rules of the house: said he had been in many houses just as good as this one, and it had never been objected to before.

"I said: 'Smoke along, then. But what business have you to be entering this house in this furtive and clandestine way, without ringing the burglar alarm?’

He looked confused and ashamed, and said, with embarrassment: 'I beg a thousand pardons. I did not know you had a burglar alarm, else I would have rung it. I beg you will not mention it where my parents may hear of it, for they are old and feeble, and such a seemingly wanton breach of the hallowed conventionalities of our civilization might all too rudely sunder the frail bridge which hangs darkling between the pale and evanescent present and the solemn great deeps of the eternities. May I trouble you for a match?’

"I said: 'Your sentiments do you honor, but metaphor is not your best hold. Spare your thigh; this kind light only on the box. But to return to business: how did you get in here?’”

Who is relating the story for the majority of the passage?

Adapted from “The McWilliamses and the Burglar Alarm” in The Mysterious Stranger and Other Stories by Mark Twain (1898; 1916)

The conversation drifted along from weather to crops, from crops to literature, from literature to scandal, from scandal to religion; then took a random jump, and landed on the subject of burglar alarms. And now for the first time Mr. McWilliams showed feeling. Whenever I perceive this sign on this man's dial, I comprehend it, and lapse into silence, and give him opportunity to unload his heart. Said he, with but ill-controlled emotion:

"I do not go one single cent on burglar alarms, Mr. Twain—not a single cent—and I will tell you why. When we were finishing our house, we found we had a little cash left over. I was for donating it to charity; but Mrs. McWilliams said no, let's have a burglar alarm. I agreed to this compromise. Whenever I want a thing, and Mrs. McWilliams wants another thing, and we decide upon the thing that Mrs. McWilliams wants—as we always do—she calls that a compromise. Very well: the man came up from New York and put in the alarm, and charged three hundred and twenty-five dollars for it, and said we could sleep without uneasiness now. So we did for awhile—say a month. Then one night we smelled smoke. I lit a candle, and started toward the stairs, and met a burglar coming out of a room with a basket of tinware, which he had mistaken for solid silver in the dark. He was smoking a pipe. I said, 'My friend, we do not allow smoking in this room.' He said he was a stranger, and could not be expected to know the rules of the house: said he had been in many houses just as good as this one, and it had never been objected to before.

"I said: 'Smoke along, then. But what business have you to be entering this house in this furtive and clandestine way, without ringing the burglar alarm?’

He looked confused and ashamed, and said, with embarrassment: 'I beg a thousand pardons. I did not know you had a burglar alarm, else I would have rung it. I beg you will not mention it where my parents may hear of it, for they are old and feeble, and such a seemingly wanton breach of the hallowed conventionalities of our civilization might all too rudely sunder the frail bridge which hangs darkling between the pale and evanescent present and the solemn great deeps of the eternities. May I trouble you for a match?’

"I said: 'Your sentiments do you honor, but metaphor is not your best hold. Spare your thigh; this kind light only on the box. But to return to business: how did you get in here?’”

Mrs. McWilliams’ definition of a compromise is intended to be __________.

Adapted from Middlemarch: A Study of Provincial Life by George Eliot (Mary Anne Evans) (1874)

And how should Dorothea not marry? A girl so handsome and with such prospects? Nothing could hinder it but her love of extremes, and her insistence on regulating life according to notions which might cause a wary man to hesitate before he made her an offer, or even might lead her at last to refuse all offers. A young lady of some birth and fortune, who knelt suddenly down on a brick floor by the side of a sick laborer and prayed fervidly as if she thought herself living in the time of the apostles, who had strange whims of fasting and of sitting up at night to read old theological books! Such a wife might awaken you some fine morning with a new scheme for the application of her income which would interfere with political economy and the keeping of saddle-horses; a man would naturally think twice before he risked himself in such fellowship. Women were expected to have weak opinions, but the great safeguard of society and of domestic life was that opinions were not acted on. Sane people did what their neighbors did, so that if any lunatics were at large, one might know and avoid them.

The rural opinion about the new young ladies, even among the cottagers, was generally in favor of Celia, as being so amiable and innocent-looking, while Miss Brooke's large eyes seemed, like her religion, too unusual and striking. Poor Dorothea! Compared with her, the innocent-looking Celia was knowing and worldly-wise; so much subtler is a human mind than the outside tissues which make a sort of blazonry or clock-face for it.

Yet those who approached Dorothea, though prejudiced against her by this alarming hearsay, found that she had a charm unaccountably reconcilable with it. Most men thought her bewitching when she was on horseback. She loved the fresh air and the various aspects of the country, and when her eyes and cheeks glowed with mingled pleasure she looked very little like a devotee. Riding was an indulgence which she allowed herself in spite of conscientious qualms; she always looked forward to renouncing it.

She was open, ardent, and not in the least self-admiring; indeed, it was pretty to see how her imagination adorned her sister Celia with attractions altogether superior to her own, and if any gentleman appeared to come to the Grange from some other motive than that of seeing Mr. Brooke, she concluded that he must be in love with Celia. Sir James Chettam, for example, whom she constantly considered from Celia's point of view, inwardly debating whether it would be good for Celia to accept him. That he should be regarded as a suitor to herself would have seemed to her a ridiculous irrelevance. Dorothea, with all her eagerness to know the truths of life, retained very childlike ideas about marriage.

As a whole, the passage begins by discussing __________, and then it transitions to discussing __________.

Adapted from Moby-Dick; or, The Whale by Herman Melville (1851)

The fact is, that among his hunters at least, the whale would, by all hands, be considered a noble dish were there not so much of him; but when you come to sit down before a meat-pie nearly one hundred feet long, it takes away your appetite. Only the most unprejudiced of men, like Stubb, nowadays partake of cooked whales; but the Esquimaux are not so fastidious. We all know how they live upon whales and have rare old vintages of prime old train oil. Zogranda, one of their most famous doctors, recommends strips of blubber for infants as being exceedingly juicy and nourishing. And this reminds me that certain Englishmen, who long ago were accidentally left in Greenland by a whaling vessel—that these men actually lived for several months on the moldy scraps of whales which had been left ashore after trying out the blubber. Among the Dutch whalemen, these scraps are called “fritters,” which, indeed, they greatly resemble, being brown and crisp, and smelling something like old Amsterdam housewives’ dough-nuts or oly-cooks when fresh. They have such an eatable look that the most self-denying stranger can hardly keep his hands off.

But what further depreciates the whale as a civilized dish is his exceeding richness. He is the great prize ox of the sea, too fat to be delicately good. Look at his hump, which would be as fine eating as the buffalo’s (which is esteemed a rare dish), were it not such a solid pyramid of fat. But the spermaceti itself, how bland and creamy that is, like the transparent, half-jellied, white meat of a coconut in the third month of its growth, yet far too rich to supply a substitute for butter. Nevertheless, many whale men have a method of absorbing it into some other substance and then partaking of it. In the long try watches of the night, it is a common thing for the seamen to dip their ship-biscuit into the huge oil-pots and let them fry there awhile. Many a good supper have I thus made.

Based on the tone of the passage, how does the narrator personally feel about eating whale?

The passage is adapted from the first chapter of Sir Arthur Conan Doyle's Rodney Stone (1896).

 On this, the first of January of the year 1851, the nineteenth century has reached its midway term, and many of us who shared its youth have already warnings which tell us that it has outworn us. We put our grizzled heads together, we older ones, and we talk of the great days that we have known; but we find that when it is with our children that we talk it is a hard matter to make them understand. We and our fathers before us lived much the same life, but they with their railway trains and their steamboats belong to a different age. It is true that we can put history-books into their hands, and they can read from them of our weary struggle of two and twenty years with that great and evil man. They can learn how Freedom fled from the whole broad continent, and how Nelson’s blood was shed, and Pitt’s noble heart was broken in striving that she should not pass us for ever to take refuge with our brothers across the Atlantic. All this they can read, with the date of this treaty or that battle, but I do not know where they are to read of ourselves, of the folk we were, and the lives we led, and how the world seemed to our eyes when they were young as theirs are now.

If I take up my pen to tell you about this, you must not look for any story at my hands, for I was only in my earliest manhood when these things befell; and although I saw something of the stories of other lives, I could scarce claim one of my own. It is the love of a woman that makes the story of a man, and many a year was to pass before I first looked into the eyes of the mother of my children. To us it seems but an affair of yesterday, and yet those children can now reach the plums in the garden whilst we are seeking for a ladder, and where we once walked with their little hands in ours, we are glad now to lean upon their arms. But I shall speak of a time when the love of a mother was the only love I knew, and if you seek for something more, then it is not for you that I write. But if you would come out with me into that forgotten world; if you would know Boy Jim and Champion Harrison; if you would meet my father, one of Nelson’s own men; if you would catch a glimpse of that great seaman himself, and of George, afterwards the unworthy King of England; if, above all, you would see my famous uncle, Sir Charles Tregellis, the King of the Bucks, and the great fighting men whose names are still household words amongst you, then give me your hand and let us start.

But I must warn you also that, if you think you will find much that is of interest in your guide, you are destined to disappointment. When I look over my bookshelves, I can see that it is only the wise and witty and valiant who have ventured to write down their experiences. For my own part, if I were only assured that I was as clever and brave as the average man about me, I should be well satisfied. Men of their hands have thought well of my brains, and men of brains of my hands, and that is the best that I can say of myself. Save in the one matter of having an inborn readiness for music, so that the mastery of any instrument comes very easily and naturally to me, I cannot recall any single advantage which I can boast over my fellows. In all things I have been a half-way man, for I am of middle height, my eyes are neither blue nor grey, and my hair, before Nature dusted it with her powder, was betwixt flaxen and brown. I may, perhaps, claim this: that through life I have never felt a touch of jealousy as I have admired a better man than myself, and that I have always seen all things as they are, myself included, which should count in my favour now that I sit down in my mature age to write my memories. With your permission, then, we will push my own personality as far as possible out of the picture. If you can conceive me as a thin and colourless cord upon which my would-be pearls are strung, you will be accepting me upon the terms which I should wish.

Which of the following quotes from the passage accurately summarizes the narrator's overall attitude towards himself?

Passage adapted from Heart of Darkness, by Joseph Conrad (1899). 

He was the only man of us who still "followed the sea." The worst that could be said of him was that he did not represent his class. He was a seaman, but he was a wanderer, too, while most seamen lead, if one may so express it, a sedentary life. Their minds are of the stay-at-home order, and their home is always with them—the ship; and so is their country—the sea. One ship is very much like another, and the sea is always the same.

In the immutability of their surroundings the foreign shores, the foreign faces, the changing immensity of life, glide past, veiled not by a sense of mystery but by a slightly disdainful ignorance; for there is nothing mysterious to a seaman unless it be the sea itself, which is the mistress of his existence and as inscrutable as Destiny.

For the rest, after his hours of work, a casual stroll or a casual spree on shore suffices to unfold for him the secret of a whole continent, and generally he finds the secret not worth knowing. The yarns of seamen have a direct simplicity, the whole meaning of which lies within the shell of a cracked nut.

But Marlow was not typical (if his propensity to spin yarns be excepted), and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the spectral illumination of moonshine.

Based on the passage, which of the following best describes the narrator's attitude towards Marlow? 

Passage adapted from Arthur Conan Doyle's "A Scandal in Bohemia" (1891)

To Sherlock Holmes she is always the woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex. It was not that he felt any emotion akin to love for Irene Adler. All emotions, and that one particularly, were abhorrent to his cold, precise but admirably balanced mind. He was, I take it, the most perfect reasoning and observing machine that the world has seen, but as a lover he would have placed himself in a false position. He never spoke of the softer passions, save with a gibe and a sneer. They were admirable things for the observer—excellent for drawing the veil from men’s motives and actions. But for the trained reasoner to admit such intrusions into his own delicate and finely adjusted temperament was to introduce a distracting factor which might throw a doubt upon all his mental results. Grit in a sensitive instrument, or a crack in one of his own high-power lenses, would not be more disturbing than a strong emotion in a nature such as his. And yet there was but one woman to him, and that woman was the late Irene Adler, of dubious and questionable memory.

I had seen little of Holmes lately. My marriage had drifted us away from each other. My own complete happiness, and the home-centred interests which rise up around the man who first finds himself master of his own establishment, were sufficient to absorb all my attention, while Holmes, who loathed every form of society with his whole Bohemian soul, remained in our lodgings in Baker Street, buried among his old books, and alternating from week to week between cocaine and ambition, the drowsiness of the drug, and the fierce energy of his own keen nature. He was still, as ever, deeply attracted by the study of crime, and occupied his immense faculties and extraordinary powers of observation in following out those clues, and clearing up those mysteries which had been abandoned as hopeless by the official police. From time to time I heard some vague account of his doings: of his summons to Odessa in the case of the Trepoff murder, of his clearing up of the singular tragedy of the Atkinson brothers at Trincomalee, and finally of the mission which he had accomplished so delicately and successfully for the reigning family of Holland. Beyond these signs of his activity, however, which I merely shared with all the readers of the daily press, I knew little of my former friend and companion.

One night—it was on the twentieth of March, 1888—I was returning from a journey to a patient (for I had now returned to civil practice), when my way led me through Baker Street. As I passed the well-remembered door, which must always be associated in my mind with my wooing, and with the dark incidents of the Study in Scarlet, I was seized with a keen desire to see Holmes again, and to know how he was employing his extraordinary powers. His rooms were brilliantly lit, and, even as I looked up, I saw his tall, spare figure pass twice in a dark silhouette against the blind. He was pacing the room swiftly, eagerly, with his head sunk upon his chest and his hands clasped behind him. To me, who knew his every mood and habit, his attitude and manner told their own story. He was at work again. He had risen out of his drug-created dreams and was hot upon the scent of some new problem. I rang the bell and was shown up to the chamber which had formerly been in part my own.

His manner was not effusive. It seldom was; but he was glad, I think, to see me. With hardly a word spoken, but with a kindly eye, he waved me to an armchair, threw across his case of cigars, and indicated a spirit case and a gasogene in the corner. Then he stood before the fire and looked me over in his singular introspective fashion.

“Wedlock suits you,” he remarked. “I think, Watson, that you have put on seven and a half pounds since I saw you.”

“Seven!” I answered.

“Indeed, I should have thought a little more. Just a trifle more, I fancy, Watson. And in practice again, I observe. You did not tell me that you intended to go into harness.”

“Then, how do you know?”

“I see it, I deduce it. How do I know that you have been getting yourself very wet lately, and that you have a most clumsy and careless servant girl?”

“My dear Holmes,” said I, “this is too much. You would certainly have been burned, had you lived a few centuries ago. It is true that I had a country walk on Thursday and came home in a dreadful mess, but as I have changed my clothes I can’t imagine how you deduce it. As to Mary Jane, she is incorrigible, and my wife has given her notice, but there, again, I fail to see how you work it out.”

Which of the following best describes narrator's tone while describing Sherlock Holmes?

Passage adapted from The Iron Woman by Margaret Deland (1911). 

Elizabeth's long braids had been always attractive to the masculine eye; they had suggested jokes about pigtails, and much of that peculiar humor so pleasing to the young male; but the summer that she "put up her hair," the puppies, so to speak, got their eyes open. When the boys saw those soft plaits, no longer hanging within easy reach of a rude and teasing hand, but folded around her head behind her little ears; when they saw the small curls breaking over and through the brown braids that were flecked with gilt, and the stray locks, like feathers of spun silk, clustering in the nape of her neck; when David and Blair saw these things—it was about the time their voices were showing amazing and ludicrous register—something below the artless brutalities of the boys' sense of humor was touched. They took abruptly their first perilous step out of boyhood. Of course they did not know it…. The significant moment came one afternoon when they all  (10)went out to the toll-house for ice-cream.

There was a little delay at the gate, while the boys wrangled as to who should stand treat. "I'll pull straws with you," said Blair; Blair's pleasant, indolent mind found the appeal to chance the easiest way to settle things, but he was always good-natured when, as now, the verdict was against him. "Come on," he commanded, gayly, "I'll shell out!" Mrs. Todd, who had begun to dispense pink and brown ice-cream, for them when they were very little children, winked and nodded as they all came in together, and made a jocose remark about "handsome couples"; then she trundled off to get the ice-cream, leaving them in the saloon. This "saloon" was an ell of the toll-house; it opened on a little garden, from which a flight of rickety steps led down to a float where half a dozen skiffs were tied up, waiting to be hired. In warm weather, when the garden was blazing with fragrant color, Mrs. Todd would permit favored patrons to put their small tables out among the  (20)marigolds and zinnias and sit and eat and talk.

The saloon itself had Nottingham-lace window-curtains, and crewel texts enjoining remembrance of the Creator, and calling upon Him to "bless our home." The tables, with marble tops translucent from years of spilled ice cream, had each a worsted mat, on which was a glass vase full of blue paper roses; on the ceiling there was a wonderful star of scalloped blue tissue-paper—ostensibly to allure flies, but hanging there winter and summer, year in and year out. Between the windows that looked out on the river stood a piano, draped with a festooning scarf of bandanna handkerchiefs. These things seemed to Blair, at this stage of his esthetic development, very satisfying, and part of his pleasure in "treating" came from his surroundings; he used to look about him enviously, thinking of the terrible dining-room at home; and on sunny days he used to look, with even keener pleasure, at the reflected ripple of light, striking up from the river below, and moving  (30)endlessly across the fly-specked ceiling.

Watching the play of moving light, he would put his tin spoon into his tumbler of ice-cream and taste the snowy mixture with a slow prolongation of pleasure, while the two girls chattered like sparrows, and David listened, saying very little and always ready to let Elizabeth finish his ice-cream after she had devoured her own.

Which of the following quotes from the passage best indicates David's feelings for Elizabeth?

Passage adapted from The Iron Woman by Margaret Deland (1911). 

Elizabeth's long braids had been always attractive to the masculine eye; they had suggested jokes about pigtails, and much of that peculiar humor so pleasing to the young male; but the summer that she "put up her hair," the puppies, so to speak, got their eyes open. When the boys saw those soft plaits, no longer hanging within easy reach of a rude and teasing hand, but folded around her head behind her little ears; when they saw the small curls breaking over and through the brown braids that were flecked with gilt, and the stray locks, like feathers of spun silk, clustering in the nape of her neck; when David and Blair saw these things—it was about the time their voices were showing amazing and ludicrous register—something below the artless brutalities of the boys' sense of humor was touched. They took abruptly their first perilous step out of boyhood. Of course they did not know it…. The significant moment came one afternoon when they all  (10)went out to the toll-house for ice-cream.

There was a little delay at the gate, while the boys wrangled as to who should stand treat. "I'll pull straws with you," said Blair; Blair's pleasant, indolent mind found the appeal to chance the easiest way to settle things, but he was always good-natured when, as now, the verdict was against him. "Come on," he commanded, gayly, "I'll shell out!" Mrs. Todd, who had begun to dispense pink and brown ice-cream, for them when they were very little children, winked and nodded as they all came in together, and made a jocose remark about "handsome couples"; then she trundled off to get the ice-cream, leaving them in the saloon. This "saloon" was an ell of the toll-house; it opened on a little garden, from which a flight of rickety steps led down to a float where half a dozen skiffs were tied up, waiting to be hired. In warm weather, when the garden was blazing with fragrant color, Mrs. Todd would permit favored patrons to put their small tables out among the  (20)marigolds and zinnias and sit and eat and talk.

The saloon itself had Nottingham-lace window-curtains, and crewel texts enjoining remembrance of the Creator, and calling upon Him to "bless our home." The tables, with marble tops translucent from years of spilled ice cream, had each a worsted mat, on which was a glass vase full of blue paper roses; on the ceiling there was a wonderful star of scalloped blue tissue-paper—ostensibly to allure flies, but hanging there winter and summer, year in and year out. Between the windows that looked out on the river stood a piano, draped with a festooning scarf of bandanna handkerchiefs. These things seemed to Blair, at this stage of his esthetic development, very satisfying, and part of his pleasure in "treating" came from his surroundings; he used to look about him enviously, thinking of the terrible dining-room at home; and on sunny days he used to look, with even keener pleasure, at the reflected ripple of light, striking up from the river below, and moving  (30)endlessly across the fly-specked ceiling.

Watching the play of moving light, he would put his tin spoon into his tumbler of ice-cream and taste the snowy mixture with a slow prolongation of pleasure, while the two girls chattered like sparrows, and David listened, saying very little and always ready to let Elizabeth finish his ice-cream after she had devoured her own.

Based on the overall tone, the passage most likely serves as part of a __________.