All ISEE Middle Level Reading Resources
Example Questions
Example Question #5 : Analyzing Tone, Style, And Figurative Language In Literature Passages
Adapted from Jude the Obscure by Thomas Hardy (1895)
He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.
"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"
They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.
His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.
"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"
The point of view from which the passage is told can best be described as that of __________.
Farmer Troutham
the third-person perspective
a friend of Jude who witnessed the event
Jude as an old man
Jude at the time
the third-person perspective
We cannot say from the passage that the narrator is a friend of Jude's, so the only safe answer is “the third-person perspective,” as the passage is written in the third person. The easiest way to ascertain this is that there is no use of the personal pronoun “I.”
Example Question #3 : Analyzing Tone, Style, And Figurative Language In Literature Passages
Adapted from A Tramp Abroad by Mark Twain (1880)
One day it occurred to me that it had been many years since the world had been afforded the spectacle of a man adventurous enough to undertake a journey through Europe on foot. After much thought, I decided that I was a person fitted to furnish to mankind this spectacle. So I determined to do it. This was in March, 1878.
I looked about me for the right sort of person to accompany me in the capacity of agent, and finally hired a Mr. Harris for this service.
It was also my purpose to study art while in Europe. Mr. Harris was in sympathy with me in this. He was as much of an enthusiast in art as I was, and not less anxious to learn to paint. I desired to learn the German language; so did Harris.
Toward the middle of April we sailed in the Holsatia, Captain Brandt, and had a very pleasant trip, indeed.
After a brief rest at Hamburg, we made preparations for a long pedestrian trip southward in the soft spring weather, but at the last moment we changed the program, for private reasons, and took the express-train.
We made a short halt at Frankfort-on-the-Main, and found it an interesting city. I would have liked to visit the birthplace of Gutenburg, but it could not be done, as no memorandum of the site of the house has been kept. So we spent an hour in the Goethe mansion instead. The city permits this house to belong to private parties, instead of gracing and dignifying herself with the honor of possessing and protecting it.
Frankfort is one of the sixteen cities which have the distinction of being the place where the following incident occurred. Charlemagne, while chasing the Saxons (as he said), or being chased by them (as they said), arrived at the bank of the river at dawn, in a fog. The enemy were either before him or behind him; but in any case he wanted to get across, very badly. He would have given anything for a guide, but none was to be had. Presently he saw a deer, followed by her young, approach the water. He watched her, judging that she would seek a ford, and he was right. She waded over, and the army followed. So a great Frankish victory or defeat was gained or avoided; and in order to commemorate the episode, Charlemagne commanded a city to be built there, which he named Frankfort—the ford of the Franks. None of the other cities where this event happened were named for it. This is good evidence that Frankfort was the first place it occurred at.
The point of view from which the passage is told can best be described as that of __________.
a harlequin
a tourist
the third-person perspective
a serious explorer
a conscientious objector
a tourist
The passage is obviously written from the first person perspective because it makes use of the word "I," and is either autobiographical or is masquerading as being autobiographical. As it is about traveling throughout Europe and the narrator talks about visiting certain attractions, we can assume that the narrator is acting as a tourist. This is regardless of the narrator's initial statement that he intends to act as an adventurer.
Example Question #221 : Language In Literature Passages
Adapted from A Tramp Abroad by Mark Twain (1880)
One day it occurred to me that it had been many years since the world had been afforded the spectacle of a man adventurous enough to undertake a journey through Europe on foot. After much thought, I decided that I was a person fitted to furnish to mankind this spectacle. So I determined to do it. This was in March, 1878.
I looked about me for the right sort of person to accompany me in the capacity of agent, and finally hired a Mr. Harris for this service.
It was also my purpose to study art while in Europe. Mr. Harris was in sympathy with me in this. He was as much of an enthusiast in art as I was, and not less anxious to learn to paint. I desired to learn the German language; so did Harris.
Toward the middle of April we sailed in the Holsatia, Captain Brandt, and had a very pleasant trip, indeed.
After a brief rest at Hamburg, we made preparations for a long pedestrian trip southward in the soft spring weather, but at the last moment we changed the program, for private reasons, and took the express-train.
We made a short halt at Frankfort-on-the-Main, and found it an interesting city. I would have liked to visit the birthplace of Gutenburg, but it could not be done, as no memorandum of the site of the house has been kept. So we spent an hour in the Goethe mansion instead. The city permits this house to belong to private parties, instead of gracing and dignifying herself with the honor of possessing and protecting it.
Frankfort is one of the sixteen cities which have the distinction of being the place where the following incident occurred. Charlemagne, while chasing the Saxons (as he said), or being chased by them (as they said), arrived at the bank of the river at dawn, in a fog. The enemy were either before him or behind him; but in any case he wanted to get across, very badly. He would have given anything for a guide, but none was to be had. Presently he saw a deer, followed by her young, approach the water. He watched her, judging that she would seek a ford, and he was right. She waded over, and the army followed. So a great Frankish victory or defeat was gained or avoided; and in order to commemorate the episode, Charlemagne commanded a city to be built there, which he named Frankfort—the ford of the Franks. None of the other cities where this event happened were named for it. This is good evidence that Frankfort was the first place it occurred at.
The tone of this passage could best be described as __________.
resolute
fickle
droll
vapid
exploratory
droll
“Droll” means humorous and whimsical. The passage obviously has a funny tone, as is evidenced by the lines “None of the other cities where this event happened were named for it. This is good evidence that Frankfort was the first place it occurred at” and “Frankfort is one of the sixteen cities which have the distinction of being the place where the following incident occurred.” Both of these lines are very “tongue-in-cheek,” or humorously ironic. To help you, “fickle” means changeable or capricious; “vapid” means not prone to deep thinking or empty headed, and “resolute” means determined.
Example Question #1 : Determining Authorial Tone In Literary Fiction Passages
Adapted from Treasure Island by Robert Louis Stevenson (1883)
He was a very silent man by custom. All day he hung round the cove or upon the cliffs with a brass telescope; all evening he sat in a corner of the parlor next the fire and drank rum and water very strong. Mostly he would not speak when spoken to, only look up sudden and fierce and blow through his nose like a fog-horn; and we and the people who came about our house soon learned to let him be. Every day when he came back from his stroll he would ask if any seafaring men had gone by along the road. At first we thought it was the want of company of his own kind that made him ask this question, but at last we began to see he was desirous to avoid them. When a seaman did put up at the Admiral Benbow (as now and then some did, making by the coast road for Bristol) he would look in at him through the curtained door before he entered the parlor; and he was always sure to be as silent as a mouse when any such was present. For me, at least, there was no secret about the matter, for I was, in a way, a sharer in his alarms. He had taken me aside one day and promised me a silver fourpenny on the first of every month if I would only keep my "weather-eye open for a seafaring man with one leg" and let him know the moment he appeared. Often enough when the first of the month came round and I applied to him for my wage, he would only blow through his nose at me and stare me down, but before the week was out he was sure to think better of it, bring me my four-penny piece, and repeat his orders to look out for "the seafaring man with one leg.”
How that personage haunted my dreams, I need scarcely tell you. I would see him in a thousand forms, and with a thousand diabolical expressions. Now the leg would be cut off at the knee, now at the hip; now he was a monstrous kind of a creature who had never had but the one leg, and that in the middle of his body. To see him leap and run and pursue me over hedge and ditch was the worst of nightmares. And altogether I paid pretty dear for my monthly fourpenny piece, in the shape of these abominable fancies.
The tone of the passage’s last sentence suggests that at this point in the story, the narrator thinks that __________.
the fourpenny piece is the subject of the narrator's nightmares
the fourpenny piece is not worth all of the trouble it brings the narrator
the fourpenny piece is worth far more than the narrator thinks his work is worth
the seafaring man with one leg does not exist
the fourpenny piece is stolen property
the fourpenny piece is not worth all of the trouble it brings the narrator
The passage’s last sentence is “And altogether I paid pretty dear for my monthly fourpenny piece, in the shape of these abominable fancies.” To “pay pretty dear” for something is to pay a great deal for it; here, especially after discussing his terrible nightmares, we can assume that the speaker thinks that the four-penny piece is not worth all the trouble it brings him. We can also arrive at this answer by canceling out all of the other ones: nothing in the sentence suggests that the four-penny piece is stolen property. The speaker clearly does not think that he is paid too much for his trouble, because he is talking about how he went through so much trouble to get it. The four-penny piece itself is not the subject of the speaker’s nightmares; the man with one leg is. If you didn’t read the sentence’s comma, you may have read “my monthly fourpenny piece in the shape of these abominable fancies,” which may have led you to choose this answer; it’s important to read very carefully to avoid incorrect answers that may anticipate you misreading something. Finally, the sentence tells us nothing about whether the seafaring man with one leg exists or not; we only know that he is the subject of the narrator’s nightmares. However, the fact that the narrator is being paid to watch out for him suggests that he is a real person.
Example Question #1 : Authorial Attitude, Tone, And Purpose In Narrative Humanities Passages
Adapted from Cowboy Songs and Other Frontier Ballads by John A. Lomax (1910)
The big ranches of the West are now being cut up into small farms. The nester has come, and come to stay. Gone is the buffalo and the free grass of the open plain—even the stinging lizard, the horned frog, the centipede, the prairie dog, the rattlesnake, are fast disappearing. Save in some of the secluded valleys of southern New Mexico, the old-time round-up is no more; the trails to Kansas and to Montana have become grass-grown or lost in fields of waving grain; the maverick steer, the regal longhorn, has been supplanted by his unpoetic but more beefy and profitable Polled Angus, Durham, and Hereford cousins from across the seas. The changing and romantic West of the early days lives mainly in story and in song. The last figure to vanish is the cowboy, the animating spirit of the vanishing era. He sits his horse easily as he rides through a wide valley, enclosed by mountains, clad in the hazy purple of coming night,—with his face turned steadily down the long, long road, "the road that the sun goes down." Dauntless, reckless, without the unearthly purity of Sir Galahad though as gentle to a woman as King Arthur, he is truly a knight of the twentieth century. A vagrant puff of wind shakes a corner of the crimson handkerchief knotted loosely at his throat; the thud of his pony's feet mingling with the jingle of his spurs is borne back; and as the careless, gracious, lovable figure disappears over the divide, the breeze brings to the ears, faint and far yet cheery still, the refrain of a cowboy song.
The mood of the passage is best described as __________.
desolate
solemn
nostalgic
reverent
ironic
nostalgic
The best answer here is "nostalgic" because of the way the author poetically describes the early days of the West as a “vanishing era” and laments the fact that it is no more.
Example Question #1 : Analyzing Tone, Style, And Figurative Language In Literature Passages
Adapted from Through the Looking Glass by Lewis Carroll (1871)
One thing was certain, that the white kitten had had nothing to do with it—it was the black kitten's fault entirely. For the white kitten had been having its face washed by the old cat for the last quarter of an hour (and bearing it pretty well, considering); so you see that it COULDN'T have had any hand in the mischief.
The way Dinah washed her children's faces was this: first she held the poor thing down by its ear with one paw, and then with the other paw she rubbed its face all over, the wrong way, beginning at the nose: and just now, as I said, she was hard at work on the white kitten, which was lying quite still and trying to purr—no doubt feeling that it was all meant for its good.
But the black kitten had been finished with earlier in the afternoon, and so, while Alice was sitting curled up in a corner of the great arm-chair, half talking to herself and half asleep, the kitten had been having a grand game of romps with the ball of worsted Alice had been trying to wind up, and had been rolling it up and down till it had all come undone again; and there it was, spread over the hearth-rug, all knots and tangles, with the kitten running after its own tail in the middle.
'Oh, you wicked little thing!' cried Alice, catching up the kitten, and giving it a little kiss to make it understand that it was in disgrace. 'Really, Dinah ought to have taught you better manners! You OUGHT, Dinah, you know you ought!' she added, looking reproachfully at the old cat, and speaking in as cross a voice as she could manage—and then she scrambled back into the arm-chair, taking the kitten and the worsted with her, and began winding up the ball again. But she didn't get on very fast, as she was talking all the time, sometimes to the kitten, and sometimes to herself. Kitty sat very demurely on her knee, pretending to watch the progress of the winding, and now and then putting out one paw and gently touching the ball, as if it would be glad to help, if it might.
The tone used in this passage is best described as __________.
pessimistic
ornery
poetic
scientific
conversational
conversational
This passage’s tone is best described as “conversational.” This can be seen in the first paragraph’s use of “you” and capital letters for emphasis in the sentence “For the white kitten had been having its face washed by the old cat for the last quarter of an hour (and bearing it pretty well, considering); so you see that it COULDN'T have had any hand in the mischief.” It can also be seen in the second paragraph’s use of “as I said” in the clause “and just now, as I said, she was hard at work on the white kitten, which was lying quite still and trying to purr—no doubt feeling that it was all meant for its good.” Nothing in the passage supports the conclusion that its tone is scientific, ornery, poetic, or pessimistic.
Example Question #2 : Analyzing Tone, Style, And Figurative Language In Literature Passages
Adapted from The Swiss Family Robinson by Johann David Wyss (1879 Kingston ed.)
Thus talking, we pushed on until we came to a pleasant grove which stretched down to the water's edge. Here, we halted to rest, seating ourselves under a large tree, by a rivulet that murmured and splashed along its pebbly bed into the great ocean before us. A thousand gaily-plumaged birds flew twittering above us, and Fritz and I gazed up at them.
My son suddenly started up.
"A monkey," he exclaimed. “I am nearly sure I saw a monkey."
As he spoke, he sprang round to the other side of the tree, and in doing so, stumbled over a small round object. He handed it to me, remarking as he did so that it was a round bird's nest, of which he had often heard. "You may have done so," said I, laughing, "but this is a coconut."
We split open the nut, but, to our disgust, found the kernel dry and uneatable.
"Hullo," cried Fritz, "I always thought a coconut was full of delicious sweet liquid, like almond milk."
"So it is," I replied, "when young and fresh, but as it ripens the milk becomes congealed, and in course of time is solidified into a kernel. This kernel then dries as you see here, but when the nut falls on favorable soil, the germ within the kernel swells until it bursts through the shell, and, taking root, springs up a new tree."
"I do not understand," said Fritz, "how the little germ manages to get through this great thick shell, which is not like an almond or hazelnut shell, which is divided down the middle already."
"Nature provides for all things," I answered, taking up the pieces. " Look here, do you see these three round holes near the stalk? It is through them that the germ obtains egress. Now let us find a good nut if we can."
As coconuts must be overripe before they fall naturally from the tree, it was not without difficulty that we obtained one in which the kernel was not dried up. When we succeeded, however, we were so refreshed by the fruit that we could defer eating until later in the day, and so spare our stock of provisions.
When Fritz says “hullo” at the start of the sixth paragraph, he is __________.
expressing surprise and confusion
celebrating a minor victory
offering a greeting to another character
speaking a different language
urging someone on
expressing surprise and confusion
Fritz says “hullo” in the sixth paragraph: “‘Hullo,’ cried Fritz, ‘I always thought a coconut was full of delicious sweet liquid, like almond milk.’” Since Fritz already knows the narrator and meets no other characters in this passage, we cannot say that he is “offering a greeting to another character.” The narrator and Fritz have just opened the coconut, so we cannot say that when Fritz says “hullo,” he is “urging someone on.” Nothing in the sentence or passage supports the idea that Fritz is “speaking a different language” by saying “hullo.” Finally, we cannot say that he is “celebrating a minor victory” because while the narrator and Fritz have just gotten the coconut open, Fritz isn’t pleased with that, as “hullo” is part of the sentence in which he shows he was expecting the coconut to contain coconut milk, which it does not. This means that the correct answer is “expressing surprise and confusion.” This fits with the context in which the word is used, where Fritz is expressing surprise that the coconut did not contain coconut milk.
Example Question #51 : Analyzing Tone, Style, And Figurative Language In Literature Passages
Adapted from Treasure Island by Robert Louis Stevenson (1883)
He was a very silent man by custom. All day he hung round the cove or upon the cliffs with a brass telescope; all evening he sat in a corner of the parlor next the fire and drank rum and water very strong. Mostly he would not speak when spoken to, only look up sudden and fierce and blow through his nose like a fog-horn; and we and the people who came about our house soon learned to let him be. Every day when he came back from his stroll he would ask if any seafaring men had gone by along the road. At first we thought it was the want of company of his own kind that made him ask this question, but at last we began to see he was desirous to avoid them. When a seaman did put up at the Admiral Benbow (as now and then some did, making by the coast road for Bristol) he would look in at him through the curtained door before he entered the parlor; and he was always sure to be as silent as a mouse when any such was present. For me, at least, there was no secret about the matter, for I was, in a way, a sharer in his alarms. He had taken me aside one day and promised me a silver fourpenny on the first of every month if I would only keep my "weather-eye open for a seafaring man with one leg" and let him know the moment he appeared. Often enough when the first of the month came round and I applied to him for my wage, he would only blow through his nose at me and stare me down, but before the week was out he was sure to think better of it, bring me my four-penny piece, and repeat his orders to look out for "the seafaring man with one leg.”
How that personage haunted my dreams, I need scarcely tell you. I would see him in a thousand forms, and with a thousand diabolical expressions. Now the leg would be cut off at the knee, now at the hip; now he was a monstrous kind of a creature who had never had but the one leg, and that in the middle of his body. To see him leap and run and pursue me over hedge and ditch was the worst of nightmares. And altogether I paid pretty dear for my monthly fourpenny piece, in the shape of these abominable fancies.
Which of the following words describes the man described at the beginning of the passage's first paragraph LEAST well?
Paranoid
Distant
Intimidating
Gruff
Charming
Charming
Based on the way in which the man is described in the passage, “charming” describes him least well. We can call him “gruff,” “intimidating,” or “distant” because of the way in which he is described in the quotations “He was a very silent man by custom” and “Mostly he would not speak when spoken to, only look up sudden and fierce and blow through his nose like a fog-horn; and we and the people who came about our house soon learned to let him be.” We can call him paranoid because of his overt concern about other seafaring men and in particular, the man with one leg. He exhibits paranoid behavior in looking through the window curtains to identify any seafaring men that happen to be staying at the inn before entering the parlor himself. So, “charming” is the best answer.
Example Question #1 : Specific Phrases And Sentences In Literary Fiction Passages
Adapted from "The Three Musketeers" in Volume Sixteen of The Romances of Alexandre Dumas (1844; 1893 ed.)
As they rode along, the duke endeavored to draw from d'Artagnan not all that had happened, but what d'Artagnan himself knew. By adding all that he heard from the mouth of the young man to his own remembrances, he was enabled to form a pretty exact idea of a position of the seriousness of which, for the rest, the queen's letter, short but explicit, gave him the clue. But that which astonished him most was that the cardinal, so deeply interested in preventing this young man from setting his foot in England, had not succeeded in arresting him on the road. It was then, upon the manifestation of this astonishment, that d'Artagnan related to him the precaution taken, and how, thanks to the devotion of his three friends, whom he had left scattered and bleeding on the road, he had succeeded in coming off with a single sword thrust, which had pierced the queen's letter and for which he had repaid Monsieur de Wardes with such terrible coin. While he was listening to this recital, delivered with the greatest simplicity, the duke looked from time to time at the young man with astonishment, as if he could not comprehend how so much prudence, courage, and devotedness could be allied with a countenance which indicated not more than twenty years.
The horses went like the wind, and in a few minutes they were at the gates of London. D'Artagnan imagined that on arriving in town the duke would slacken his pace, but it was not so. He kept on his way at the same rate, heedless about upsetting those whom he met on the road. In fact, in crossing the city two or three accidents of this kind happened; but Buckingham did not even turn his head to see what became of those he had knocked down. D'Artagnan followed him amid cries which strongly resembled curses.
On entering the court of his hotel, Buckingham sprang from his horse, and without thinking what became of the animal, threw the bridle on his neck, and sprang toward the vestibule. D'Artagnan did the same, with a little more concern, however, for the noble creatures, whose merits he fully appreciated; but he had the satisfaction of seeing three or four grooms run from the kitchens and the stables, and busy themselves with the steeds.
What can we infer from the underlined phrase in the first paragraph, “and for which he had repaid Monsieur de Wardes with such terrible coin”?
D'Artagnan cursed his attacker vehemently.
Monsieur de Wardes wanted to help d'Artagnan, but d'Artagnan injured him.
D'Artagnan repaid Monsieur de Wardes the money he owed him, but d'Artagnan stole that money.
D'Artagnan snuck away before Monsieur de Wardes could demand he keep his end of a promise the two men had made.
D'Artagnan greatly injured or killed his attacker.
D'Artagnan greatly injured or killed his attacker.
Interpreting the sentence literally might lead you to select as the correct answer "D'Artagnan repaid Monsieur de Wardes the money he owed him, but d'Artagnan stole that money." However, figurative speech is being used; recognizing this, and considering how the "sword thrust" that injured d'Artagnan is mentioned immediately before the underlined phrase, you can come to the conclusion that "D'Artagnan greatly injured or killed his attacker." While the answer choice "Monsieur de Wardes wanted to help d'Artagnan, but d'Artagnan injured him" may look potentially correct because it does involve D'Artagnan injuring Monsieur de Wardes, we can tell that Monsieur de Wardes did not want to help d'Artagnan, because we can infer that he is the one who injured d'Artagnan from the use of the verb "repaid."
Example Question #2 : Analyzing Authorial Tone And Method In Prose Fiction Passages
Adapted from Once on a Time by A. A. Milne (1922)
The Princess was still puzzled. "But I'm grown up," she said. "I don't want a mother so much now."
The King turned his flagon round and studied the other side of it.
"A mother's—er—tender hand," he said, "is—er—never——" and then the outrageous thing happened.
It was all because of a birthday present to the King of Barodia, and the present was nothing less than a pair of seven-league boots. The King being a busy man, it was a week or more before he had an opportunity of trying those boots. Meanwhile he used to talk about them at meals, and he would polish them up every night before he went to bed. When the great day came for the first trial of them to be made, he took a patronizing farewell of his wife and family, ignored the many eager noses pressed against the upper windows of the palace, and sailed off. The motion, as perhaps you know, is a little disquieting at first, but one soon gets used to it. After that it is fascinating. He had gone some two thousand miles before he realized that there might be a difficulty about finding his way back. The difficulty proved at least as great as he had anticipated. For the rest of that day he toured backwards and forwards across the country, and it was by the merest accident that a very angry King shot in through an open pantry window in the early hours of the morning. He removed his boots and went softly to bed.
It was, of course, a lesson to him. He decided that in the future he must proceed by a recognized route, sailing lightly from landmark to landmark. Such a route his geographers prepared for him—an early morning constitutional, of three hundred miles or so, to be taken ten times before breakfast. He gave himself a week in which to recover his nerve and then started out on the first of them.
The author’s tone in this passage could best be described as __________.
haughty
tedious
serious
conversational
lethargic
conversational
The author is presenting a fantasy story in a casual and humorous manner, and breaking it up with asides such as "as perhaps you know" in the line, "The motion, as perhaps you know, is a little disquieting at first, but one soon gets used to it." Based on these characteristics, the author's tone is best described as "conversational."
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