Adapted from Richard III by William Shakespeare, I.i.1-42

Now is the winter of our discontent
Made glorious summer by this sun of York;
And all the clouds that lour'd upon our house
In the deep bosom of the ocean buried.
Now are our brows bound with victorious wreaths;
Our bruised arms hung up for monuments;
Our stern alarums changed to merry meetings,
Our dreadful marches to delightful measures.
Grim-visaged war hath smooth'd his wrinkled front;
And now, instead of mounting barded steeds
To fright the souls of fearful adversaries,
He capers nimbly in a lady's chamber
To the lascivious pleasing of a lute.
But I, that am not shaped for sportive tricks,
Nor made to court an amorous looking-glass;
I, that am rudely stamp'd, and want love's majesty
To strut before a wanton ambling nymph;
I, that am curtail'd of this fair proportion,
Cheated of feature by dissembling nature,
Deformed, unfinish'd, sent before my time
Into this breathing world, scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them;
Why, I, in this weak piping time of peace,
Have no delight to pass away the time,
Unless to spy my shadow in the sun
And descant on mine own deformity:
And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain
And hate the idle pleasures of these days.
Plots have I laid, inductions dangerous,
By drunken prophecies, libels and dreams,
To set my brother Clarence and the king
In deadly hate the one against the other:
And if King Edward be as true and just
As I am subtle, false and treacherous,
This day should Clarence closely be mew'd up,
About a prophecy, which says that 'G'
Of Edward's heirs the murderer shall be.
Dive, thoughts, down to my soul: here
Clarence comes.

Throughout the passage, the speaker characterizes himself as being __________.

Adapted from Richard III by William Shakespeare, I.i.1-42

Now is the winter of our discontent
Made glorious summer by this sun of York;
And all the clouds that lour'd upon our house
In the deep bosom of the ocean buried.
Now are our brows bound with victorious wreaths;
Our bruised arms hung up for monuments;
Our stern alarums changed to merry meetings,
Our dreadful marches to delightful measures.
Grim-visaged war hath smooth'd his wrinkled front;
And now, instead of mounting barded steeds
To fright the souls of fearful adversaries,
He capers nimbly in a lady's chamber
To the lascivious pleasing of a lute.
But I, that am not shaped for sportive tricks,
Nor made to court an amorous looking-glass;
I, that am rudely stamp'd, and want love's majesty
To strut before a wanton ambling nymph;
I, that am curtail'd of this fair proportion,
Cheated of feature by dissembling nature,
Deformed, unfinish'd, sent before my time
Into this breathing world, scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them;
Why, I, in this weak piping time of peace,
Have no delight to pass away the time,
Unless to spy my shadow in the sun
And descant on mine own deformity:
And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain
And hate the idle pleasures of these days.
Plots have I laid, inductions dangerous,
By drunken prophecies, libels and dreams,
To set my brother Clarence and the king
In deadly hate the one against the other:
And if King Edward be as true and just
As I am subtle, false and treacherous,
This day should Clarence closely be mew'd up,
About a prophecy, which says that 'G'
Of Edward's heirs the murderer shall be.
Dive, thoughts, down to my soul: here
Clarence comes.

Which of the following is NOT presented in this passage?

Adapted from "Sonnet 73" by William Shakespeare

That time of year thou mayst in me behold

When yellow leaves, or none, or few, do hang

Upon those boughs which shake against the cold,

Bare ruin'd choirs, where late the sweet birds sang.

In me thou seest the twilight of such day

As after sunset fadeth in the west,

Which by and by black night doth take away,

Death's second self, that seals up all in rest.

In me thou see'st the glowing of such fire

That on the ashes of his youth doth lie,

As the death-bed whereon it must expire

Consumed with that which it was nourish'd by.

This thou perceivest, which makes thy love more strong,

To love that well which thou must leave ere long.

The poem as a whole can best be described as which of the following?

Adapted from Vanity Fair by William Makepeace Thackeray (1848)

If there is any exhibition in all Vanity Fair which Satire and Sentiment can visit arm in arm together; where you light on the strangest contrasts laughable and tearful: where you may be gentle and pathetic, or savage and cynical with perfect propriety: it is at one of those public assemblies, a crowd of which are advertised every day in the last page of the Times newspaper, and over which the late Mr. George Robins used to preside with so much dignity. There are very few London people, as I fancy, who have not attended at these meetings, and all with a taste for moralizing must have thought, with a sensation and interest not a little startling and queer, of the day when their turn shall come too, and Mr. Hammerdown will sell by the orders of Diogenes' assignees, or will be instructed by the executors, to offer to public competition, the library, furniture, plate, wardrobe, and choice cellar of wines of Epicurus deceased.

Even with the most selfish disposition, the Vanity Fairian, as he witnesses this sordid part of the obsequies of a departed friend, can't but feel some sympathies and regret. My Lord Dives's remains are in the family vault: the statuaries are cutting an inscription veraciously commemorating his virtues, and the sorrows of his heir, who is disposing of his goods. What guest at Dives's table can pass the familiar house without a sigh?—the familiar house of which the lights used to shine so cheerfully at seven o'clock, of which the hall-doors opened so readily, of which the obsequious servants, as you passed up the comfortable stair, sounded your name from landing to landing, until it reached the apartment where jolly old Dives welcomed his friends! What a number of them he had; and what a noble way of entertaining them. How witty people used to be here who were morose when they got out of the door; and how courteous and friendly men who slandered and hated each other everywhere else! He was pompous, but with such a cook what would one not swallow? he was rather dull, perhaps, but would not such wine make any conversation pleasant? We must get some of his Burgundy at any price, the mourners cry at his club. "I got this box at old Dives's sale," Pincher says, handing it round, "one of Louis XV's mistresses—pretty thing, is it not?—sweet miniature," and they talk of the way in which young Dives is dissipating his fortune.

How changed the house is, though! The front is patched over with bills, setting forth the particulars of the furniture in staring capitals. They have hung a shred of carpet out of an upstairs window—a half dozen of porters are lounging on the dirty steps—the hall swarms with dingy guests of oriental countenance, who thrust printed cards into your hand, and offer to bid. Old women and amateurs have invaded the upper apartments, pinching the bed-curtains, poking into the feathers, shampooing the mattresses, and clapping the wardrobe drawers to and fro. Enterprising young housekeepers are measuring the looking-glasses and hangings to see if they will suit the new menage (Snob will brag for years that he has purchased this or that at Dives's sale), and Mr. Hammerdown is sitting on the great mahogany dining-tables, in the dining-room below, waving the ivory hammer, and employing all the artifices of eloquence, enthusiasm, entreaty, reason, despair; shouting to his people; satirizing Mr. Davids for his sluggishness; inspiriting Mr. Moss into action; imploring, commanding, bellowing, until down comes the hammer like fate, and we pass to the next lot. 

Based on the passage, Mr. Hammerdown is most likely which of the following?

Adapted from Vanity Fair by William Makepeace Thackeray (1848)

If there is any exhibition in all Vanity Fair which Satire and Sentiment can visit arm in arm together; where you light on the strangest contrasts laughable and tearful: where you may be gentle and pathetic, or savage and cynical with perfect propriety: it is at one of those public assemblies, a crowd of which are advertised every day in the last page of the Times newspaper, and over which the late Mr. George Robins used to preside with so much dignity. There are very few London people, as I fancy, who have not attended at these meetings, and all with a taste for moralizing must have thought, with a sensation and interest not a little startling and queer, of the day when their turn shall come too, and Mr. Hammerdown will sell by the orders of Diogenes' assignees, or will be instructed by the executors, to offer to public competition, the library, furniture, plate, wardrobe, and choice cellar of wines of Epicurus deceased.

Even with the most selfish disposition, the Vanity Fairian, as he witnesses this sordid part of the obsequies of a departed friend, can't but feel some sympathies and regret. My Lord Dives's remains are in the family vault: the statuaries are cutting an inscription veraciously commemorating his virtues, and the sorrows of his heir, who is disposing of his goods. What guest at Dives's table can pass the familiar house without a sigh?—the familiar house of which the lights used to shine so cheerfully at seven o'clock, of which the hall-doors opened so readily, of which the obsequious servants, as you passed up the comfortable stair, sounded your name from landing to landing, until it reached the apartment where jolly old Dives welcomed his friends! What a number of them he had; and what a noble way of entertaining them. How witty people used to be here who were morose when they got out of the door; and how courteous and friendly men who slandered and hated each other everywhere else! He was pompous, but with such a cook what would one not swallow? he was rather dull, perhaps, but would not such wine make any conversation pleasant? We must get some of his Burgundy at any price, the mourners cry at his club. "I got this box at old Dives's sale," Pincher says, handing it round, "one of Louis XV's mistresses—pretty thing, is it not?—sweet miniature," and they talk of the way in which young Dives is dissipating his fortune.

How changed the house is, though! The front is patched over with bills, setting forth the particulars of the furniture in staring capitals. They have hung a shred of carpet out of an upstairs window—a half dozen of porters are lounging on the dirty steps—the hall swarms with dingy guests of oriental countenance, who thrust printed cards into your hand, and offer to bid. Old women and amateurs have invaded the upper apartments, pinching the bed-curtains, poking into the feathers, shampooing the mattresses, and clapping the wardrobe drawers to and fro. Enterprising young housekeepers are measuring the looking-glasses and hangings to see if they will suit the new menage (Snob will brag for years that he has purchased this or that at Dives's sale), and Mr. Hammerdown is sitting on the great mahogany dining-tables, in the dining-room below, waving the ivory hammer, and employing all the artifices of eloquence, enthusiasm, entreaty, reason, despair; shouting to his people; satirizing Mr. Davids for his sluggishness; inspiriting Mr. Moss into action; imploring, commanding, bellowing, until down comes the hammer like fate, and we pass to the next lot. 

Which of the following characters is deceased at the time in the story at which this passage takes place?

Adapted from Jane Eyre by Charlotte Bronte (1847)

“Mr. Rochester, I no more assign this fate to you than I grasp at it for myself.  We were born to strive and endure—you as well as I: do so.  You will forget me before I forget you.”

“You make me a liar by such language: you sully my honor.  I declared I could not change: you tell me to my face I shall change soon.  And what a distortion in your judgment, what a perversity in your ideas, is proved by your conduct!  Is it better to drive a fellow-creature to despair than to transgress a mere human law, no man being injured by the breach? for you have neither relatives nor acquaintances whom you need fear to offend by living with me?”

This was true: and while he spoke my very conscience and reason turned traitors against me, and charged me with crime in resisting him.  They spoke almost as loud as Feeling: and that clamored wildly.  “Oh, comply!” it said.  “Think of his misery; think of his danger—look at his state when left alone; remember his headlong nature; consider the recklessness following on despair—soothe him; save him; love him; tell him you love him and will be his.  Who in the world cares for you? or who will be injured by what you do?”

Still indomitable was the reply—“I care for myself.  The more solitary, the more friendless, the more unsustained I am, the more I will respect myself.  I will keep the law given by God; sanctioned by man.  I will hold to the principles received by me when I was sane, and not mad—as I am now.  Laws and principles are not for the times when there is no temptation: they are for such moments as this, when body and soul rise in mutiny against their rigor; stringent are they; inviolate they shall be.  If at my individual convenience I might break them, what would be their worth?  They have a worth—so I have always believed; and if I cannot believe it now, it is because I am insane—quite insane: with my veins running fire, and my heart beating faster than I can count its throbs.  Preconceived opinions, foregone determinations, are all I have at this hour to stand by: there I plant my foot.”

I did.  Mr. Rochester, reading my countenance, saw I had done so.  His fury was wrought to the highest: he must yield to it for a moment, whatever followed; he crossed the floor and seized my arm and grasped my waist.  He seemed to devour me with his flaming glance: physically, I felt, at the moment, powerless as stubble exposed to the draught and glow of a furnace: mentally, I still possessed my soul, and with it the certainty of ultimate safety.  The soul, fortunately, has an interpreter—often an unconscious, but still a truthful interpreter—in the eye.  My eye rose to his; and while I looked in his fierce face I gave an involuntary sigh; his gripe was painful, and my over-taxed strength almost exhausted.

Which of the following is occurring in the underlined third and fourth paragraphs?

Adapted from The Merchant of Venice V.i. 2502-2544 by William Shakespeare (1600) 

LORENZO

Sweet soul, let's in, and there expect their coming.
And yet no matter: why should we go in?
My friend Stephano, signify, I pray you,
Within the house, your mistress is at hand;
And bring your music forth into the air.

Exit Stephano

How sweet the moonlight sleeps upon this bank!
Here will we sit and let the sounds of music
Creep in our ears: soft stillness and the night
Become the touches of sweet harmony.
Sit, Jessica. Look how the floor of heaven
Is thick inlaid with patines of bright gold:
There's not the smallest orb which thou behold'st
But in his motion like an angel sings,
Still quiring to the young-eyed cherubins;
Such harmony is in immortal souls;
But whilst this muddy vesture of decay
Doth grossly close it in, we cannot hear it.

Enter Musicians

Come, ho! and wake Diana with a hymn!
With sweetest touches pierce your mistress' ear,
And draw her home with music.

Music

JESSICA

I am never merry when I hear sweet music.

LORENZO

The reason is, your spirits are attentive:
For do but note a wild and wanton herd,
Or race of youthful and unhandled colts,
Fetching mad bounds, bellowing and neighing loud,
Which is the hot condition of their blood;
If they but hear perchance a trumpet sound,
Or any air of music touch their ears,
You shall perceive them make a mutual stand,
Their savage eyes turn'd to a modest gaze
By the sweet power of music: therefore the poet
Did feign that Orpheus drew trees, stones and floods;
Since nought so stockish, hard and full of rage, Why
But music for the time doth change his nature.
The man that hath no music in himself,
Nor is not moved with concord of sweet sounds,
Is fit for treasons, stratagems and spoils;
The motions of his spirit are dull as night
And his affections dark as Erebus:
Let no such man be trusted. Mark the music.

Which sentence BEST summarizes the theme of Lorenzo’s response to Jessica’s concern that she is never merry when she hears sweet music?

Adapted from "The Convalescent" in Essays of Elia by Charles Lamb (1823)

To be sick is to enjoy monarchal prerogatives. Compare the silent tread, and quiet ministry, almost by the eye only, with which he is served—with the careless demeanor, the unceremonious goings in and out (slapping of doors, or leaving them open) of the very same attendants, when he is getting a little better—and you will confess, that from the bed of sickness (throne let me rather call it) to the elbow chair of convalescence, is a fall from dignity, amounting to a deposition.

How convalescence shrinks a man back to his pristine stature! Where is now the space, which he occupied so lately, in his own, in the family's eye? The scene of his regalities, his sick room, which was his presence chamber, where he lay and acted his despotic fancies—how is it reduced to a common bedroom! The trimness of the very bed has something petty and unmeaning about it. It is made every day. How unlike to that wavy, many-furrowed, oceanic surface, which it presented so short a time since, when to make it was a service not to be thought of at oftener than three or four day revolutions, when the patient was with pain and grief to be lifted for a little while out of it, to submit to the encroachments of unwelcome neatness, and decencies which his shaken frame deprecated; then to be lifted into it again, for another three or four days' respite, to flounder it out of shape again, while every fresh furrow was a historical record of some shifting posture, some uneasy turning, some seeking for a little ease; and the shrunken skin scarce told a truer story than the crumpled coverlid

Hushed are those mysterious sighs—those groans—so much more awful, while we knew not from what caverns of vast hidden suffering they proceeded. The Lernean pangs are quenched. The riddle of sickness is solved; and Philoctetes is become an ordinary personage.

Perhaps some relic of the sick man's dream of greatness survives in the still lingering visitations of the medical attendant. But how is he too changed with everything else! Can this be he--this man of news—of chat—of anecdote—of everything but physic—can this be he, who so lately came between the patient and his cruel enemy, as on some solemn embassy from Nature, erecting herself into a high mediating party? Pshaw! 'Tis some old woman.

Farewell with him all that made sickness pompous—the spell that hushed the household—the desert-like stillness, felt throughout its inmost chambers—the mute attendance—the inquiry by looks—the still softer delicacies of self-attention—the sole and single eye of distemper alonely fixed upon itself—world-thoughts excluded—the man a world unto himself—his own theatre—What a speck is he dwindled into!

The overall point of this passage is to discuss which of the following?

Adapted from The Confidence-Man: His Masquerade by Herman Melville (1857)

At sunrise on a first of April, there appeared suddenly a man in cream-colors at the water-side in the city of St. Louis.

His cheek was fair, his chin downy, his hair flaxen, his hat a white fur one, with a long fleecy nap. He had neither trunk, valise, carpet-bag, nor parcel. No porter followed him. He was unaccompanied by friends. From the shrugged shoulders, titters, whispers, wonderings of the crowd, it was plain that he was, in the extremest sense of the word, a stranger.

In the same moment with his advent, he stepped aboard the favorite steamer Fidèle, on the point of starting for New Orleans. Stared at, but unsaluted, with the air of one neither courting nor shunning regard, but evenly pursuing the path of duty, lead it through solitudes or cities, he held on his way along the lower deck until he chanced to come to a placard nigh the captain's office, offering a reward for the capture of a mysterious impostor, supposed to have recently arrived from the East; quite an original genius in his vocation, as would appear, though wherein his originality consisted was not clearly given; but what purported to be a careful description of his person followed.

As if it had been a theatre-bill, crowds were gathered about the announcement, and among them certain chevaliers, whose eyes, it was plain, were on the capitals, or, at least, earnestly seeking sight of them from behind intervening coats; but as for their fingers, they were enveloped in some myth; though, during a chance interval, one of these chevaliers somewhat showed his hand in purchasing from another chevalier, ex-officio a peddler of money-belts, one of his popular safe-guards, while another peddler, who was still another versatile chevalier, hawked, in the thick of the throng, the lives of Measan, the bandit of Ohio, Murrel, the pirate of the Mississippi, and the brothers Harpe, the Thugs of the Green River country, in Kentucky—creatures, with others of the sort, one and all exterminated at the time, and for the most part, like the hunted generations of wolves in the same regions, leaving comparatively few successors; which would seem cause for unalloyed gratulation, and is such to all except those who think that in new countries, where the wolves are killed off, the foxes increase.

Pausing at this spot, the stranger so far succeeded in threading his way, as at last to plant himself just beside the placard, when, producing a small slate and tracing some words upon if, he held it up before him on a level with the placard, so that they who read the one might read the other. The words were these:—

"Charity thinketh no evil.”

Which of the following best summarizes what happens in the third paragraph?

Adapted from The Confidence-Man: His Masquerade by Herman Melville (1857)

At sunrise on a first of April, there appeared suddenly a man in cream-colors at the water-side in the city of St. Louis.

His cheek was fair, his chin downy, his hair flaxen, his hat a white fur one, with a long fleecy nap. He had neither trunk, valise, carpet-bag, nor parcel. No porter followed him. He was unaccompanied by friends. From the shrugged shoulders, titters, whispers, wonderings of the crowd, it was plain that he was, in the extremest sense of the word, a stranger.

In the same moment with his advent, he stepped aboard the favorite steamer Fidèle, on the point of starting for New Orleans. Stared at, but unsaluted, with the air of one neither courting nor shunning regard, but evenly pursuing the path of duty, lead it through solitudes or cities, he held on his way along the lower deck until he chanced to come to a placard nigh the captain's office, offering a reward for the capture of a mysterious impostor, supposed to have recently arrived from the East; quite an original genius in his vocation, as would appear, though wherein his originality consisted was not clearly given; but what purported to be a careful description of his person followed.

As if it had been a theatre-bill, crowds were gathered about the announcement, and among them certain chevaliers, whose eyes, it was plain, were on the capitals, or, at least, earnestly seeking sight of them from behind intervening coats; but as for their fingers, they were enveloped in some myth; though, during a chance interval, one of these chevaliers somewhat showed his hand in purchasing from another chevalier, ex-officio a peddler of money-belts, one of his popular safe-guards, while another peddler, who was still another versatile chevalier, hawked, in the thick of the throng, the lives of Measan, the bandit of Ohio, Murrel, the pirate of the Mississippi, and the brothers Harpe, the Thugs of the Green River country, in Kentucky—creatures, with others of the sort, one and all exterminated at the time, and for the most part, like the hunted generations of wolves in the same regions, leaving comparatively few successors; which would seem cause for unalloyed gratulation, and is such to all except those who think that in new countries, where the wolves are killed off, the foxes increase.

Pausing at this spot, the stranger so far succeeded in threading his way, as at last to plant himself just beside the placard, when, producing a small slate and tracing some words upon if, he held it up before him on a level with the placard, so that they who read the one might read the other. The words were these:—

"Charity thinketh no evil.”

One can best characterize the author’s style as ___________.